Vol. V, No. 3 
SYRACUSE NEW YORK 
July 1903 
"Make hay tuhile the sun shines." 
( )ME things can not be insisted npon 
too much; every year and manj^ 
times in the j^ear Keramic Studio 
reiterates the advice to make a sum- 
mer portfolio for winter use. Go to 
work systematical^ as soon as the 
earth begins to put on its gala dress of 
flowers and greenery. Begin with 
the first flower that comes, put at the 
top of the page — Snowdrop, Hepa- 
tica or whatever it may be. Make first, if you wish, 
a panel of flowers massed, marking only the general char- 
acteristics of shape, color and mass of light and shade. 
On the next page make a careful outline drawing of the 
entire growth of one plant from the root up. Then draw in de- 
tail and with exactness the separate parts, noting everything 
possible, everj^ peculiarity — the corolla, calyx, pistil, stamen, 
leaf, stem, bud, seed and root, top and side and back view of 
each and cross section when possible. Then take each part and 
make it into an ornament to be used for design, conventionaliz- 
ing and simplifj'ing, and making each ornament symmetrical, 
that is, having both sides alike; then try two or more parts com- 
bined to make an ornament. Sometimes the flower, stem and 
leaf, or some other combination can be used without making anj' 
symmetrical ornament of it, drawing in outline and flat tones 
and repeating at attractive intervals. 
Try a fe-w ornamental borders from these motifs in black 
and white and various color schemes or make a design for some 
ceramic form. Do not force your ideas but draw onty what 
suggests itself to you as a good arrangement, then leave a blank 
page for suggestions that maj^ come to j^ou later and start a new 
page with the next flower that blossoms. 
Do not confine j^our efforts to the ordinary and well known 
flowers — everj^thing that comes your waj^ is fish for j^our net 
and often the most unusual forms are found in weeds and other 
wild things heretofore unnoticed. 
CLAY IN THE STUDIO 
(Ninth Paper.) 
Charles F. Binns 
WE wifl not close the instructions in claj^ work without 
allusion to casting as a method of production. There 
is no intention here of arguing in defence or condemnation of 
casting. It is a fact which may be defended by those who 
use it and our space at the present time is too valuable for 
academic discussions. As m everj^thing a begining must be 
made in the right place and right way and the early steps made 
clear. A mould is a necessity and instructions for working in 
plaster have already been given. These will not be repeated 
here but so much knowledge will be assumed. 
The design for a vase or other piece is prepared on paper 
and a turner must be employed to shape a model, exact in out- 
line, on his lathe, either in hardwood or plaster. This model 
should have a small, spare piece added to its height about half 
an inch in length and about a quarter of an inch smaller than 
the diameter of the top to which it is attached. For the bottom 
a disc must be turned like a truncated cone. Height one half 
inch, smaller diameter same as the bottonr of the vase, larger 
diameter one inch greater. This is for use in making the bot- 
tom mould. A reference to the sketch will explain the point. 
The two shaded portions are the additions, for convenience of 
moulding only, be it understood, the bottom one must be loose 
or only attached by the slightest of means, the top spare is 
better if it be. turned out of the same piece as the vase and 
is of course pennanent. A cradle of soft clay is now prepared 
Lipon a level surface, preferably a sheet of glass, and the vase 
laid down and pressed into the clay until the axis is perfectly 
horizontal. A simple way of performing this is to find the 
center of both top and bottom and with a sharp pair of dividers 
measure these two centers so that both shall be exactly the 
same height above the glass. The dividers are now passed 
entirelj? around the vase, one point resting upon the glass and 
the other against the vase. By this means a long scratch is 
made on the model which divides it into two ec|ual parts. This 
must be carefull3' done for it is clear that if one part be the least 
bit larger than the other the resulting mould will overlap so that 
the model cannot be extricated. 
The model must be buried so that one half is only seen. 
This may be done with soft clay or two thin plates of plaster 
may be cut to fit, one on each side. The latter makes the best 
job but is a little more troublesome. In either case the two 
ends of the bed must be cut to the lines A B and C D. Upright 
on these lines two plaster plates are set and the whole is bound 
around several times with thick cartridge paper and held with 
twine. There is now a deep trough at the bottom of which lies 
the half buried vase. Plaster is now mixed and poured so as to 
cover the vase about one inch. This will set hard in a few 
minutes and the whole thing may be taken up. The paper is 
removed and the cast turned over. It is well now to remove the 
vase carefully from its cradle, take away the clay bed and turn 
up the face of the half mould. In the edge of this two or three 
small hollows must be made to secure the interlocking of the 
other half — these are called "natches," probably a corruption 
of notches — and the vase is carefully replaced. The half mould 
and the vase are now thoroughly sized with the soap solution 
and reinclosed in the paper. A second mix of plaster is poured 
and the second half of the mould formed. For the bottom the 
mould is tightly bound with twdne and turned upside down. 
The loose bottom piece is removed, natches cut, paper bound 
round and plaster poured, all as before, not forgetting the sizing. 
We have now a mould in three pieces, two halves and a bottom. 
The model is taken out and set aside, it is of no further use. 
This mould can now be dried and used for casting but it 
would soon wear out and the whole process would have to be 
repeated. The usual plan therefore is to make a "case" or 
reverse of each part of the mould so that new moulds maj^ be 
run as often as needed, with the minimum of trouble. The process 
of casting is long and somewhat intricate to describe. A visit 
to a good mould maker or a course of instruction is the shortest 
way to learn. The mould already described can be used, of 
course, casing is only an expedient for repetition. While the 
mould is drying the slip should be prepared. The mixture 
already given will serve, in fact it is best to use the same clay 
for all purposes if possible. The mixture for casting, however, 
should not be so plastic as one for throwing or building; the 
