WORKING ON THE WHEEL
[Illustration: FIG. 10
_From Encyclopedia Britannica_]
That the primitive potter did not mould his pottery on a wheel we can
be reasonably sure. The Egyptians, however, as early as 4000 B. C.,
used the simplest potter’s wheel, as is proved by fragments of pottery
still in existence. This wheel was a small, round table revolving on
a pivot (see Fig. 10). The potter set it in motion with his hand, and
from time to time gave it a spin to keep it revolving. The same wheel
is used to this day in many parts of India. An improvement on this
simple contrivance was made in Egypt under the Ptolemies. A larger
circular table was fixed lower down on the same axis. This the potter
set and kept in motion with his foot, leaving his hands free at all
times to mould the clay, while the wheel was kept at a regular speed.
What is technically known as “throwing” or moulding pottery on the
wheel is a process that is not learned in a moment, or even in a
day. It takes time and patience, but it is certainly one of the most
fascinating parts of the craft. One would have lost half of the charm
of pottery-making who had not felt the plastic clay, on the potter’s
wheel, rise and fall between his hands, almost as if endowed with life!
The rapidity with which pieces can be formed on the wheel is an
advantage over other processes, while the regularity of shape,
refinement and perfection of finish give wheel-made pottery a beauty
all its own. Until lately, few women potters have worked on the wheel,
because the ordinary form of potter’s wheel, which was turned with one
foot, the potter standing on the other, made the work too difficult and
laborious for a woman to attempt. Now, however, a wheel copied from
an old French model is in use which enables the potter to sit while
at work. This is the wheel shown in Fig. 11. It is obtainable from
makers of potters’ tools. The cost of such a wheel, with an iron top
and shaft, and wooden flywheel made of three thicknesses of boards, is
eighteen dollars, but second-hand wheels can sometimes be bought for
much less. When the wheel is set up, the shaft box (a square box below
the upper wheel) is fastened to the edge of a strong table or shelf,
which has been placed in a good light. A seat which slants forward, not
unlike a reading-desk in form, is made of wood (see Fig. 11), and set
up near enough to the wheel for a person sitting on it to reach the
wheel comfortably. It is braced by a board on either side extending
diagonally forward, from the leg of the seat to the floor, and by a
board fastened on the right of the top of the seat and reaching to the
table. Under the table a foot-rest, roughly made of boards, is needed.
[Illustration: FIG. 11]
At first, it will be wise to learn how to set the wheel in motion.
Suppose we practice this a few times before beginning to mould. When
one is seated on the inclined bench, the left foot on the rest, the
right foot starting just below the body, near the outer edge of the
wheel, swings the flywheel from right to left. The point of the foot
is used for this. Four or five vigorous turns are given, and then the
foot, swinging nearer the iron shaft, gives five or six more pushes
to the flywheel, and is placed on the foot-rest. Expert potters can
turn with the foot while the hands are busy moulding, but we who are
beginners will do wisely to start the wheel revolving, then, keeping
both feet on the rest, give all our attention to the hand-work, until
the slower revolutions warn us that it is time to give the wheel
another start. One caution should be given, and it may not be out
of place here: Do not work too long a time at the wheel. Half or
three-quarters of an hour’s steady work at a time will be enough. After
that, leave it for half an hour and you will not get physically or
nervously tired; besides, the work will go much better. Have your tools
and a bowl of thin slip within easy reach as you sit at the wheel.
In beginning your piece, a lump of clay, say about two pounds, well
worked, is made into a ball. Wet the top of the wheel, then rub it off
so as to leave the wheel just moist enough for the clay to stick, but
not slippery, so that it will slide. The lump of clay, held in both
hands, is then thrown firmly on to the centre of the wheel. The bottom
of the lump should be well down on the wheel, and it is most important
to have it exactly in the centre. The hands are wet with slip, which
is also rubbed over the lump of clay with both hands so that it is
thoroughly moist.
The wheel is now set in motion as already described, and when it is
well started, and both feet are up on the rest, the hands held one on
either side of the clay starting close to the wheel, move slowly up
the sides of the lump, drawing it up into a cone shape. The elbows
should be well braced against the sides of the body, so as to hold the
hands absolutely steady, for they should never waver or swing with
the wheel, but hold true and firm. If the mass is not exactly in the
centre of the wheel, or the cone shape is not even, the hands are again
wet with slip, a few drops of which are shaken on to the clay. The
thumbs are laid together, and the hands at the bases of the thumbs are
pressed firmly down on the clay (as the wheel turns), pressing it again
into mound shape. The hands and clay are wet once more, and the wheel
started. The clay is now pressed up again into the cone form, taking
great care to have the pressure even and slow. The hands should move,
after each revolution, not more than a quarter of an inch. When a good
cone shape is made exactly in the middle of the wheel, the piece is
“centred.” In order to prove that the cone is absolutely in the centre,
set the wheel going, brace the arms against the body, and, steadying
the right hand with the left, move the forefinger of the right closer
and closer to the cone, until it all but touches it. If the figure hits
in any one place, that will prove that the cone is not centred, and it
must be pressed again into mound shape as already described, but if it
just clears it all the way round, the potter proceeds to the next step.
The thumbs, held close together above the clay, are aimed at the exact
centre of it, and their ends pressed firmly but lightly in, while the
wheel revolves once or twice. This is to mark the centre. The next
step is to hollow out the piece. This is also done with the thumbs.
The hands and clay being wet with slip, and the wheel started well,
the fingers inclose the outer walls of the piece, while the thumbs
are pressed into the centre of the clay firmly and decidedly down to
within less than half an inch from the bottom. This is something that
the potter learns to know almost by instinct—how close he can come to
the top of the wheel and yet leave a bottom thick enough to trim and
finish.
[Illustration: FIG. 12. Two handled conical jar]
[Illustration: FIG. 13]
A form as nearly cylindrical as possible will be the simplest to begin
with. Suppose one wishes to make a jar of the shape shown in Fig. 12.
The next step is to make the walls of equal thickness, hollowing the
bottom more. To do this, the elbows are braced against the sides, and
the fingers placed in the position shown in Fig. 13. This is one of
the ways in which the hands are made to support each other and work
in unison. The different placings of the hands, to accomplish various
results, are known as potter’s grips. In this one, the right hand,
which remains outside the piece (lying close against it), supports the
left by the thumb which rests against it, the forefinger of the right
hand having previously been coiled around its thumb (see Fig. 13).
The middle finger of the left hand lies against the wall of the piece
inside. The piece is thus supported outside and in by a hand.
[Illustration: FIG. 14]
Starting at the bottom, as the wheel turns, the hands, held steady
and firm, rise slowly with each revolution of the wheel. The right
presses more than the left, hollowing the bottom and walls of the
piece. Slowly, slowly, the hands rise, until the top is reached. If the
shape is not quite true, the hands start in the same position at the
bottom and again go up, pressing hardest when pressure is needed, and
going lightly where it is not necessary to alter the shape. Another
position of the hands (see Fig. 14) may be used to press the clay into
a narrower form. This must be done with great deliberation and care,
however, as too much pressure may make a crease in the clay wall which
will spoil the piece. When the walls are of even thickness (not more
than a quarter of an inch) and the shape about what one wishes, the top
must be finished.
First the edge is cut even. We will use for this the tool shown in Fig.
8.
[Illustration: FIG. 15]
Holding the tool, which has been wet with slip, firmly in the right
hand, brace the left by resting the thumb near where the steel is
inserted in the wood (see Fig. 15). As the wheel turns, lay the left
forefinger, wet with slip, just inside the top of the piece, and
directly opposite (at the point where one wishes to cut the top) run
the point of the tool through, till it touches the finger, and hold it
steady and firm till one revolution of the wheel has been made. The
wheel is then stopped, and the edge that was cut lifted off deftly and
quickly.
[Illustration: FIG. 16]
To soften the edge, hold the forefinger and middle finger of the right
hand apart (see Fig. 16). Wet their inner surfaces thoroughly with
slip, then, as the wheel revolves, hold them straight and firm (while
the left hand steadies the wrist of the right) and press the rounded
joining of the two fingers gently but firmly down on the top of the
piece, holding it there steadily till one or two whole revolutions of
the wheel have been made. If one wishes to have a more flaring top, lay
the forefinger of the right hand inside the edge with ever so slight
an outward pressure, while the wheel turns once. Before perfecting the
bottom, it may be as well to let the piece stiffen for half an hour.
The hoe-shaped tool is used for cutting away the extra clay under the
bottom. Set the wheel in motion, then take the tool, well moistened
with slip, in the left hand. Hold it firmly with its long edge on the
top of the wheel (if it is to be a long and gradual slope into the
bottom of the jar), while the right hand steadies the top outer angle
of the tool. It is then run in under the bottom and there held till one
or more revolutions have cut away the surplus clay.
Should one wish to make a more abrupt line up from the bottom, the
process is reversed, the right hand holds the tool, the short side of
which is laid on the wheel, while the left hand holds the outside top
angle, to steady it.
After an hour or two, when the piece has stiffened somewhat, it may
be smoothed, and the form refined or improved, if necessary, with the
smooth-edged oval tool of sheet steel. When the wheel is in motion,
this tool, moistened with water and bent to fit the curves of the
piece, is held in the right hand at right angles with the piece, while
the left hand supports the wrist of the right. Too abrupt angles
may be softened and roughness removed with this tool. Start at the
bottom with it, and move it up gradually, with each revolution of the
wheel, lightly, except where the form needs much trimming. The rubber
polisher, wet with water, is now passed over the surface in the same
way, taking care that it is held at right angles with the piece and
the hand that holds it is braced by the other. A stout wire held close
to the piece on either side is then drawn under it once or twice to
prevent its clinging to the wheel.
The next day, or as soon as the piece is stiff, it is removed to a
plaster tile. In finishing the bottom, the wheel is first scraped and
wiped clean of all clay; the piece is then placed on it bottom up and
centred. This is done by putting it as near the middle as possible by
eye; then when the wheel is going well, hold the right forefinger or a
wooden tool, well braced, close to the piece. See if it touches at any
point, and if so, move that side nearer the centre. Roll four short
pieces of rather stiff clay. With two of these make supports on the
wheel about an inch high, close to the piece on either side to hold it
steady—not close enough to cling to it. Two more supports are placed
half-way between the first two.
Get the wheel going well, and holding the hoe-shaped tool so that its
middle angle will strike the bottom of the piece about half an inch
from the edge, aim it truly and hold it steadily till the wheel has
made one or more revolutions, which will mark a circle. Within this
line depress the bottom slightly by cutting out a thin layer of clay.
This is done with the rectangular sheet steel tool held first near the
line, then with each revolution nearer the centre till it reaches it.
The potter next cuts his mark on the bottom with a wooden tool, if the
piece is not very dry, otherwise it should be made with a pointed steel
tool, taking care to bevel the edges of the incised lines.
[Illustration: WORKING ON THE WHEEL
On the left is a pale-green bowl for flowers; beside it, a cream-jug
with a gray-green mat-glaze. The flower-jar with two handles is also
gray-green, and the nasturtium bowl on the right has a dull blue
mat-glaze.]
[Illustration: METHODS OF DECORATION
The large fruit-bowl on the left has an incised design of orange
leaves near the rim. Beside it is a low dish for candy, with a
built-up decoration of rings. A design of maple leaves is incised on
the other small dish, and the lamp bowl at the right of the plate has
a pierced decoration.]
[Illustration: FIG. 17]
[Illustration: FIG. 18]
[Illustration: FIG. 19]
The jar is finished with a handle on each side. Roll out two strips of
clay five and a half inches long; flatten them, and trim the edges. Now
mark a place on each side of the top of the jar, so that a line drawn
from one to the other would exactly divide the top. Make two other
marks in the same way at the bottom, directly under those at the top.
These are for guides in attaching the handles. Starting at the top,
below one of the marks, criss-cross lines with the steel tool for an
inch down the side of the jar. Do this on the other side of the jar,
and then, starting an inch above the mark on either side of the bottom,
cut criss-cross lines for an inch up the side of the jar. Now take one
of the clay strips, brush the upper criss-crossed lines on one side of
the jar with slip, and press the end of the strip upon it, working the
edges close against the side of the jar with the flat of the nail. The
other end of the strip is cut in a long point to fit the form of the
jar, and bent into the shape shown in the plate. Wet the criss-crossed
lines below it with slip, and attach this end in the same way as the
first. The other handle is put on in the same manner.
A mat-glaze of gray green (see Chapter V.) will complete the piece.
Such forms as are shown in Figs. 17 and 18 can be made without any
difficulty, and they will be most attractive for short-stemmed
flowers—violets, sweet peas, or nasturtiums. A cream-jug (see plate)
is comparatively simple. The lip is formed with a deft touch of the
finger after the piece is moulded, and the handle added afterward. A
dull-green mat-glaze will make a charming finish for this piece. The
jar shown in Fig. 19 is more difficult to shape, but it is an excellent
one for flowers.
Methods of Decoration