244 
RERAMIC STUDIO 
CLAY IN THE STUDIO 
(Fifth Paper.) 
Cliarles F. Binns 
HE clay is now made and ready for use. 
What shall be done with it? In the 
manipulation of plastic clay two methods 
are possible, wheel and hand work. Not 
that wheel work is anything else but 
hand work, but by "hand work" is meant the method in 
which the wheel is not employed. This method will be taken 
first as it is within the reach of everyone. No installation of 
are best. They lend themselves to a treatment severely bold 
and truthfully vigorous. The food vessel of the early Briton, 
the grain dish of the Mexican, even the Roman wine jar or 
the Egyptian water bottle will furnish a motive, but let the 
modeller, even while seeking inspiration amid ancient relics, 
strive to be self-expressive and therefore original. 
It is well to have two pieces in hand at once. At times 
the work must be set aside to harden and time will not be 
lost if a second object be ready. Now to begin. 
It is best to work on a plaster bat or a small board to 
save the necessity of handling the work when turning it about 
or carrying it. A handful of clay is taken and rolled out into 
machinery, no expensive appara- 
tus is necessary, the ten finger 
bones and a modelling tool or two 
are all that will be required. 
We are indebted to the In- 
dian women for the process of 
building or coiling pottery. At 
one time such work was looked 
down upon as being barbarous, 
uncivilized and not worth a 
serious thought. But that is 
changed. Artists are recognizing 
in clay building an opportunity 
for self-expression which is unrivaled, and we are already 
seeing important examples issuing from American studios. 
In beginning to fashion a piece of pottery there 
should be a definite idea of what is intended. This idea will 
not always be realized, for clay has a stubborn will and some- 
times leads us in a way we know not. But the more definite 
the idea the more likely it is of fulfillment. 
The simple forms used by savage or semi-civilized peoples 
1. Rolling the coils. 2. Formi 
4. Caulking. 5. 
a long coil. This should be prac- 
ticed for some time in order that 
the coil may be as uniform and 
smooth as possible. The thick- 
ness of the coil should be pro- 
portionate to the size of the piece 
designed For a small jar the 
coils may be rolled down to the 
size of macaroni or smaller. For 
a large piece they may be a 
quarter or even three-eighths of 
an inch in diameter. The size 
of the base intended is now decid- 
ed upon and the roll of clay coiled round in spiral form 
until the necessary space is covered. 
In some cases it may be necessary to make a drawing of 
the form to be builded, but somehow this seems to detract 
from the creative sense. One can hardly escape from the 
notion that working to a drawing is copying, even though the 
drawing be one's own. But in any case the whole piece must 
be seen complete in the mind's eye before a beginning is 
:ig the base. 3. Building. 
Finishing. 
