46 
RERAMIC STUDIO 
CLAY IN THE STUDIO 
(Eighth Paper.) 
Charles F. Binns 
HE plain form being constructed, 
tlie question of decoration presents it- 
self. Perhaps no ornament is needed 
and in such case, the surface may be 
left rough or polished. Most clays 
will take a fine polish if carefully 
rubbed, when leather-hard, with a 
piece of bright steel or ivory. The 
ancients frequently treated their 
vases by polishing part and leaving 
part dull. Either bands or interlacing lines may be rendered 
this way. This, of course, is only applicable where the pot- 
tery is to remain unglazed and a pleasing color of clay is de- 
sirable. For this purpose the ware should be well fired, as a 
certain amount of density on the surface is desirable. If it be 
found that the clay will not polish, it may be made to do so 
by the addition of a little plastic clay, ball clay will serve 
well. The more plastic a clay is the better it will polish. 
Of the decorations applicable to the clay there are, be- 
sides polishing, three. Incising, inlaying and slip painting. 
The first named is the prehistoric method. In the early 
period of barbaric pottery, before the days of the wheel even, 
a scratched or incised line was used as ornamentation. It is 
conjectured that the impress of a wicker form in which the 
clay was built, afforded the first suggestion, but no such in- 
spiration is needed now. So much has been said and written 
about line treatment and space relation that it seems unneces- 
sary to enlarge upon these points. Figures i, 2 and 3 express 
the simplest forms of incised work, and figure 4 illustrates 
the application of a border to a simple form. Extreme accu- 
racy need not be sought in this work. An expressive line is 
better than a mechanical one. 
The tool is a blunt point either of steel, bone or hard 
wood, and the narrow trench must be cut out, not merely im- 
pressed, a blunt point is best because the line in section 
should be shaped like U rather than like V. The condition 
of the clay is important, and a little practice will determine 
the correct stage of drying at which to operate. 
As soon as the clay is "leather hard," so that it can be 
freely handled, but is still somewhat moist, the pattern should 
be decided upon and the vase divided and spaced. The whole 
of the decoration should now be drawn in India ink and the 
piece set aside to acquire the proper degree of dryness. This 
is when the clay will cut freely with the tool and will crumble 
and fall away as it is cut. If too moist the clay will rise as a 
burr on each side of the line and will be difficult to remove 
neatly. If too dry it will be hard to make a line at all. 
If desired, the effect may be intensified by rubbing a 
dark color into the incised lines. For this, the vase must be 
nearly dry and the color damp but powdery. A colored clay 
in powder will answer well. Some water colors will hold their 
color in the fire, such as burnt umber, burnt sienna and Indian 
red, though the last named will darken to a brown. 
Inlaying is a step in advance of incising. Apart from 
the treatment of the pattern, two points must be observed. 
The clay of the pattern and the clay of the body must be as 
nearly the same consistency as possible, and they must have 
absolutely the same contraction in burning. The former of 
these conditions is not easy, to attain. The body clay must 
not be as dry as that for incising, and there being a broader 
surface to be cut away, the clay can be more easily managed 
in the event of the outline breaking up. The clay used for 
the inlay must be as stiff as it can be worked freely. 
As to the contraction in burning this can be adjusted by 
the addition of ground flint or ground feldspar to the respec- 
tive clays. Two or three trial pieces should be made. 
In the first take a small jar or a simple disc of clay and 
tool a broad, shallow channel in it. The edges should be cut 
as clean as possible, but the bottom of the channel will be 
better left somewhat rough. The clay for the inlay is now 
taken, morsel by morsel, on a flat tool of wood or steel, and 
each piece being dipped in water, is pressed into the groove 
made for it. A perfect union between the two clays is the 
first thing to be secured. The surface can be dealt with later. 
When the pattern is filled the trial should be set aside in a 
cool, damp place that it may become hard without drying. 
I'I'I' ' 5 
»»>»»; 
