170 
RERAMIC STUDIO 
CLAY IN THE STUDIO. 
(Second Paper.) 
Cliarles F. Binns 
TREATMENT FOR VASE DESIGN 
Anna B. Leonard 
THE vase is to be tinted with Capucine Red and a touch of 
Deep Red Brown put on in rather a thin wash. The 
design is outlined in black and filled in with gold. The top 
of the vase or collar is in Capucine Red and Deep Red Brown, 
put on in a heavy tint, while the band above the design is 
gold outlined in black. The dark spots in the design are to 
be in the heavy tint of red. 
This may be carried out in any color and it is particularly 
effective as a gold design with lustre background. 
CHINA AS DECORATION 
ARTISTS say that china and all other ornaments possess two 
important uses in decoration — "the massing of color 
and the breaking up of stiff, ugly outlines." The dark places 
of a room and the corners are points needing the light and 
grace of ornaments. A very scanty store of china looks 
larger by condensation. It is better, therefore, to place most 
of what a room contains in one small cabinet, instead of scat- 
tering it upon tables and the piano, as many housewives do. 
THE mention of plaster suggests that the clay-worker will 
find it very useful to practice the manipulation of this 
necessary substance. It is not intended to offer any sugges- 
tions or directions for moulding because the highest interest 
and the richest development of clay work lie in hand treat- 
ment alone, but, until one who has been accustomed to the 
facilities of a factory is denied them, he does not realize how 
large a part is played by plaster of Paris in the operations of 
the potter. If one orders a "whirler" or turntable upon 
which to work it is supplied with an iron prong to receive the 
plaster head, but no plaster is furnished by the machinist. 
For modeling, for drying, for serving as a tray upon which to 
arrange small pieces there is nothing so useful as a plaster 
"bat." Let it be explained here that any flat piece of clay or 
plaster whether square or round is called a "bat." One other 
point of explanation. The " whirler" above referred to must 
not be confused with the potter's wheel. It more nearly 
serves the purpose of a banding wheel, but is used for the 
finishing of clay wares on account of the facility of turning a 
piece from side to side without the risk of breakage by hand- 
ling. A whirler is almost a necessity in the clay-worker's 
studio. 
Now as to the plaster. The best quality is that known as 
dental plaster, and a friendly dentist will tell where it can be 
procured. The cheap plaster of the drug store is usually too 
coarse for pottery purposes. 
Perhaps the working of plaster will best be explained by 
the description of an actual operation. Let us suppose that 
a round bat about an inch thick is required. An iron frying 
pan forms a convenient mould ; if one can be procured and kept 
for such work, it will be best. Water is poured into this to 
the depth of an inch and is then poured off and measured. 
To each pint of water one pound of dry plaster is allowed. 
For blending, a convenient pitcher should be provided, one 
holding three pints will suffice. This should be wide at the 
mouth so as to admit the whole hand and should be easily 
cleaned. 
Pouring the measured water into the pitcher the plaster 
is allowed to fall in through the half-closed fingers that lumps 
may be detected and broken, The plaster is left to soak for 
about five minutes and, meanwhile, the frying pan should be 
well greased or soaped. The grease must not be left in lumps 
but should be well rubbed in with an old cloth. Plunging the 
hand into the pitcher the worker must stir vigorously, break- 
ing all the lumps of plaster and bringing the mixture to a 
smooth cream. This stirring is continued without cessation 
until the liquid feels thick under the hand. The psychological 
moment is when the hand on being withdrawn shows a good 
white coating. Before this arrives the bat will be of unequal 
hardness and full of bubbles, after it has passed the plaster 
will become too solid to pour. " There is a tide in the affairs of " 
plaster "which, taken at the flood," — But a trial or two will 
show the right moment for pouring, and the pan being set on 
a level table is filled with the batter. In a few minutes the 
surface will become dry — the plaster has set. In a few more 
the heat of combination sets in, plaster and pan become warm, 
even hot, and may be made to part company. The pan is 
taken by the handle, a hand placed on the plaster and the 
whole turned upside down. Sometimes the bat will fall out, 
sometimes it must be assisted by a sharp rap of the edge of 
