TRANSCRIBER'S NOTE
In the numerous chemical formulae a subscripted number is shown as _{2},
so the familiar formula for water would be H_{2}O: H, subscript 2, O.
This notation is needed to distinguish digits that are subscripts from
digits that are multipliers, as for example in the formula
Pb(OH)_{2}2PbCO_{3}, where the subscript 2 must be distinguished from
the quantity multiplier 2 that follows it.
[Illustration: _Frontispiece_ STONEWARE MADE BY THE AUTHOR.]
The Potter's Craft
A Practical Guide for the Studio and Workshop
_By_ CHARLES F. BINNS
_Director of the New York State School of Clay-Working
and Ceramics_ ¶ _Some time a Superintendent in the
Royal Porcelain Works, Worcester, England_
_SECOND EDITION_
_SECOND PRINTING_
_26 PLATES AND 20 TEXT ILLUSTRATIONS_
[Colophon]
NEW YORK
D. VAN NOSTRAND COMPANY, INC.
EIGHT WARREN STREET
Copyright, 1910, 1922
by
D. Van Nostrand Company
_All rights reserved, including that of translation
into the Scandinavian and other foreign languages._
Printed in the United States of America
LANCASTER PRESS, INC.
LANCASTER, PA.
"A book is written, not to multiply the
voice merely, not to carry it merely,
but to perpetuate it. The author has
something to say which he perceives to
be true and useful, or helpfully
beautiful. So far as he knows, no one
has yet said it; so far as he knows, no
one else can say it. He is bound to say
it clearly and melodiously if he may;
clearly, at all events."
--_Ruskin._
PREFACE TO SECOND EDITION
Since the publication of the first edition of this book eleven years
have elapsed, years packed full of varied and interesting experiences.
During that time it has been the pleasant fortune of the author to
conduct classes, especially summer classes, in the science and art of
pottery production. These have been occasions of meeting many fine and
noble personalities whom to know is a liberal education. As one of the
consequences of these experiences the book has been revised and some new
chapters have been written. Especial acknowledgments are due and are
gratefully made to Elsie Binns for the chapter on Clay-Working for
Children and to Maude Robinson for that on Alkaline Glazes.
The photographs are by the Taylor Studios, Hornell, N. Y.
C. F. B.
Alfred, New York.
March, 1922.
PREFACE TO FIRST EDITION
This Book is the outcome of an experience extending over a period of
thirty-six years. Twenty years ago it would have been impossible, for
the science of ceramics was not then born. Ten years ago it would have
been wasted for the Artist-potter in America had not arrived, but now
the individual workers are many and the science is well established.
Written teaching must be imperfect, but I have endeavored to set down
the exact methods by which my students are taught, in the hope that
those who cannot secure personal instruction may read and understand.
As far as possible didactic statements have been avoided and the attempt
has been made to lead every student to experiment and to think for
himself. In other words, I have tried to erect sign-posts and occasional
warnings rather than to remove all obstacles from the road.
C. F. B.
Alfred, N. Y.
January, 1910.
CONTENTS
Introduction.--The Present Need xiii
CHAPTER
I. Applied Art 1
II. Pottery 9
III. Porcelain 23
IV. The Nature and Properties of Clay 29
V. The Preparation of Clay 37
VI. Mold-Making and Plaster 43
VII. Cases and Working Molds 58
VIII. Building by Hand 68
IX. The Potter's Wheel 74
X. Turning 99
XI. Making Large Pieces 107
XII. Cups and Saucers and Plates 124
XIII. Casting 129
XIV. Tiles 133
XV. Glazes and Glazing
Part I 140
Part II--Matt Glazes 152
Part III--Fritted Glazes 157
Part IV--Recipes 160
Part V--The Defects of Glazes 164
Part VI--Alkaline Glazes 167
XVI. Decoration 173
XVII. The Fire 179
XVIII. High Temperature Wares 188
XIX. Clay-working for Children 194
INDEX 201
LIST OF PLATES
Frontispiece.--Stoneware made by the Author.
PLATE. PAGE
I. Throwing.--Lesson II, 1 80
II. Throwing.--Lesson II, 2 81
III. Throwing.--Lesson II, 3 82
IV. Throwing.--Lesson III, 1 83
V. Throwing.--Lesson III, 2 86
VI. Throwing.--Lesson IV, 1 87
VII. Throwing.--Lesson IV, 2 89
VIII. Throwing.--Lesson V 90
IX. Throwing.--Lesson VI, 1 92
X. Throwing.--Lesson VI, 2 93
XI. Throwing.--Lesson VII 95
XII. Throwing.--Lesson VIII, 1 96
XIII. Throwing.--Lesson VIII, 2 97
XIV. Making Large Pieces. The First Section 109
XV. Making Large Pieces. Measuring the Foundation of the 110
Second Section
XVI. Making Large Pieces. Drawing up the Second Section 111
XVII. Making Large Pieces. Shaping the Third Section 112
XVIII. Making Large Pieces. The Three Sections Completed 113
XIX. Making Large Pieces. Turning the Edge of the First 114
Section
XX. Making Large Pieces. Finishing the Bottom of the First 116
Section
XXI. Making Large Pieces. Checking the Size of the Second 117
Section
XXII. Making Large Pieces. Fitting Together Dry 119
XXIII. Making Large Pieces. Setting the Third Section in Place 120
XXIV. Making Large Pieces. The Three Sections Set Together in 121
the Rough
XXV. Making Large Pieces. The Finished Vase 122
INTRODUCTION: THE PRESENT NEED
Many times it has been proven, in the history of the world, that it is
not possible to force a reform or a novelty upon an unwilling people.
Such things are organic. In order to live they must grow and in order to
grow must live. No attempt will be made, therefore, in these pages to
foster an idea or propound a thought which may exist only in the
predilection of the author.
The trend of the present demand, a persistent growth of several years,
is towards a personal and individual expression in the crafts or
industrial arts. This tendency is the natural swing of the pendulum from
the machine-made product of the manufactory which in its turn was the
inevitable result of mechanical invention.
When the artisan was an artist and the designer a craftsman, there was
but a limited production of industrial art. The articles made were
expensive and for the wealthy alone. The common utensils necessary to
the household were made on the farm and were of the rudest possible
character. But with the gradual development of machinery there came an
abandonment of rural activities, a flocking to the city, manufacturing
on a large scale, lower prices, and a huge output. This has, of course,
taken many years to develop, but the utmost limit of the swing has been
reached and the question is "What next?" Will the factory cease its
labors? Will output decrease in bulk and improve in quality? Will there
ever, in a word, be a return to medieval conditions? Not only may all
these questions be answered in the negative but it may be stated with
all sincerity that there is no need for any other answer.
What then, are not manufactured products as now put forth a menace to
the art life of the nation? Are not the people being educated in the use
of and belief in machine-made ornament and meretricious display? Perhaps
so, but no good purpose will be served by a ruthless condemnation of
these things. Art appreciation is a most subtle thing and no one may
dictate to his neighbor as to what he should or should not admire. It
took time for the public to understand and patronize the product of the
machine even though the price was favorable. It will take time for an
appreciation of craftsmanship to influence the land but this
consummation will most assuredly come.
On the one hand there is the manufactory, teeming with "hands," riotous
with wheels, turning out its wares by the thousand and supplying the
demand of the many; on the other, there is the artist-artisan. He labors
at his bench in sincere devotion to his chosen vocation. His work is
laborious and exacting, he can make but a few things and for them he
must ask a price relatively high. Both these conditions are necessary.
The craftsman cannot supply the need of the people and the manufacturer
has no time or thought for disinterested production. Herein lies the
need and here is the mission of the individual worker.
In every age it is given to some to discern more than the multitude and
it is theirs to teach. The people are anxious to learn, are eager to be
led. What they demand will be manufactured and so by the irresistible
lever of public opinion the man at the bench, if he be true to himself
and to his craft, may move the millionaire manufacturer to make wares
which, if not truly artistic, shall at least be inoffensive. Such a
mission is not to be accomplished without suffering. The man who essays
to attack a giant must be sure both of his ground and of his personal
condition. He who would establish his craft in the knowledge and
affection of men must possess enthusiasm, skill, discrimination and
infinite patience.
It is not enough to discern the good, the hand must follow the brain
with diligent care. Furthermore, it is not enough to be able to make
things well, one must also make them good and know it. The
artist-artisan must have courage to destroy that which is below
standard, and self-denial to resist the temptation to sell an unworthy
product.
The country needs craftsmen of this type and for them there is an
important work. For such, if they elect to join the ranks of the
potters, these words are written and in the hope that some may be
stimulated, encouraged, guided and helped the counsel of a fellow
craftsman is offered.
CHAPTER I: APPLIED ART
It is not intended, in these lines, to consider what are generally
termed the Fine Arts, painting and sculpture. These are perfectly
competent to take care of themselves and, indeed, the author can make no
claim to an ability to discuss them. In the field of applied art,
however, there are certain principles to be observed, principles,
moreover, which are frequently lost sight of because of the lamentable
separation of the functions of the artist and artificer.
It is extremely difficult to draw the line between art and manufacture.
For example, a wall paper, designed with skill and executed by machinery
in actual reproduction of the work of the designer; is it a work of art
or is it a product of the factory? It is both. Primarily a work of art
is the product of the artist's own hand. It reveals his individuality.
It is the language in which he expresses himself to his audience. It is
the note of his voice. Such a work may or may not appeal to a large
section of the public. This will always be so. An artist, be he poet,
musician, painter or craftsman, is one who can see more than others.
What he sees he endeavors to express but it is inevitable that he be
sometimes misunderstood. Hence it the more necessary that his message be
delivered at first hand. To look upon a replica of the work of an artist
is like reading a sermon or an oration from a printed page. One may
gather much of the teaching but the personal note, the tone and gesture,
must be lost.
But there are many who can gather the words of great men only from
books. There are, moreover, books which have never been spoken and
wherein alone the message is to be found. In like manner there are
works, emanating from the hand of great designers which can only be made
available for the many in a form of reproduction. The wall paper cited
as an illustration is of this class. Were it not for the printing press
this beautiful design could not have passed beyond the studio, and while
it is a great thing if a wealthy man can commission a Whistler to
decorate a peacock room, it is an advantage by no means to be ignored
that a well designed wall paper can be purchased by the piece.
But while this is true of such of the household goods as cannot be
procured except by the medium of the machine, there are other examples.
In the case of the wall paper the function of the machine is simply to
transfer the proper design to the paper itself. This has no identity
except as a surface. It is no more to be considered than is a canvas
upon which a picture is painted. But when a chair or a table is formed
out of pieces of lumber uniformly shaped by one machine, the seat or top
put together by another and the legs or back carved or stamped by a
third, art or individuality is lost because mechanical construction is
involved.
Still more is this the case in the product of the manufactory of
pottery. In commercial practice not only is a shape designed without
regard to decoration but the same decoration is placed upon several
forms, or a single form is made to suffer as the vehicle for many
decorations. Some of the results may be pleasing, even beautiful, but it
is more by luck than guidance and no piece produced in this way has any
claim to be classed as a work of art.
On the other hand it may happen that a work of art, in the sense of
individual expression, may not even be beautiful and one is tempted to
ask the reason. If a work which is a genuine expression of a man's
personality fail to please the senses of those who are trained in the
finer perceptions there must be something wrong.
If the adverse opinion be at all general amongst the critics it may be
assumed that they are right and that the worker is wrong.
For example, the form of a flower is not a fit receptacle for a candle.
It often happens that a designer, struck with the beauty of, say, a
tulip, has modeled the flower in clay and made it into a candlestick.
Now it is obvious that the more closely the model simulates the flower
the less appropriate it is for such a purpose. If the model be heavy
enough to be of use it must be far removed from its prototype. If a
conventional design for a candlestick be adopted the petals of a flower
may be shown in relief upon it but there must always be a solid
foundation to account for the possibility of use.
A favorite form with some designers is a bird's nest made into a flower
holder. In this the same criticism applies. A bird's nest is always
built to let water escape. Even a mud-lined nest is not impervious and
the idea is obviously inappropriate. It is important that imitation be
avoided and especially the imitation of material. One often hears the
remark "How beautiful, it looks just like bronze." This, of course,
comes from the casual observer to whom the skill of the imitation
appeals but it cannot be too strongly insisted upon that to imitate one
material in another is false from every point of view. Nor is it
necessary. Clay is sufficient in itself. There are so many effects
possible in pottery which are not possible in any other medium that it
is entirely superfluous to seek outlandish texture and color. To be
sure, such things are popular but that does not make them sound in
principle or true in taste.
It should not be a purpose of any craft to make pieces merely as an
exhibition of skill. This is done sometimes by such versatile workers as
the Japanese, but it may be laid down as a law that a production of the
nature of a _tour-de-force_, an object which simply excites wonder at
the skill of the worker, is undignified and meretricious. It is akin to
the work of certain painters who delight in painting marble or velvet so
as to exhibit a perfect texture only and is but one degree removed from
the skill of the pavement artist who with colored chalk draws a lamb
chop or a banana in such a manner that the real article seems to be
lying on the ground at his feet.
The true artist, be he potter or painter, works primarily for his own
satisfaction. It sometimes happens that a defect, not large enough to be
obvious, is a temptation to concealment. The public will never know. But
the consciousness of the existence of such a blemish will destroy the
pride of achievement which should accompany every finished piece.
If the worker aims to draw any expression of opinion from the untrained
observer it should be in the nature of a remark on how easy the work
looks. Art will always conceal effort. Just as the poet or orator is at
his best when he clothes sublime thought in simple words so the artist
or craftsman glorifies his vocation when he makes use of means which
appear to be within the reach of every observer.
In addition to the work of the producer there must be considered the
function of the critic. Artists are commonly impatient of criticism.
Tennyson voiced this sentiment when he wrote of "Irresponsible indolent
reviewers," but the power of the critic is rarer than the skill of the
craftsman. True, there are critics and critics. There is the man who
knows what he likes and who cannot be persuaded that he likes what is
false, and there is the trained critic who sees with an educated eye and
dissects with an unerring word. It is not common to find critic and
craftsman in one and the same person and it not infrequently happens
that the persons exercising these functions are at variance with each
other.
But if the critic be correct why is the craftsman wrong? In this let it
be presumed that there is nothing wrong with his craft as such; that he
handles his tools skilfully and has perfect control over his material.
More than this, however, is necessary. The first requirement is a sense
of form, a term which includes outline, proportion and structure. Often
and often it is found that a designer depends upon novelty alone for
acceptance. He is not altogether to blame in this for the great American
public will, more often than not, ask, "Is it new?"
Novelty in itself is no claim to consideration; in fact, on being shown
some product of which it is said "Nothing like it has ever been seen
before," the temptation is great to respond, "May its like never be seen
again." Novelty apart, form must possess proportion, balance and grace.
A chair must invite the sitter, a vase must stand securely, a carpet
must lie flat. The absence of these things may evidence an individuality
on the part of the designer but it is art at the expense of truth.
The second necessary condition is fitness which again is expressed in
several ways. A porcelain vase is required to be light, graceful and
refined. A piece of ruder pottery may be no less satisfactory if it
exhibit vigor, strength and solidity. A large pot for a growing tree is,
for these reasons, more appropriate in grès than in porcelain. Porcelain
is translucent but such a quality is of no advantage in the case of a
flower pot; the strength of a massive body is, however, demanded by the
circumstances of use and hence the unfitness of the one and the fitness
of the other.
Another point of fitness is concerned in the correspondence between
size, form and weight. It often happens that one takes hold of a piece
of pottery and experiences a shock. The mind unconsciously forms an
estimate of what the weight will be but the piece does not respond. The
effort put forth in accordance with the appearance of the object either
lifts it suddenly into the air or fails to raise it from the table. The
artist critic takes note of these things. To handle his wares is a
constant pleasure, for one is not continually disappointed by unexpected
violences. This correspondence or equilibrium is apart from the use of a
piece of pottery. It is quite as legitimate to express one's ideas in
clay in the presentation of simple beauty as it is to express them with
paint upon canvas. At the same time there is always a satisfaction in a
vase or flower pot that it can be used if required. Thus a vase which
will not hold water is technically imperfect and the _bête noire_ of the
conscientious potter.
It is in the harmony of these things that the rôle of the critic is seen
to advantage. If the artist be capable of criticizing his own work he is
in a position to command attention but he must either discipline himself
or be disciplined by others, which, after all, is the way of the world
at large.