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Fig. 9

Small pieces of pottery, such as dishes and candlesticks, may be moulded with the hands from a single piece of clay (see Chapter VI.); but, for larger pieces, the strong and simple Indian process of building up with coils of clay is more satisfactory. This may be done in a variety of ways. Either the piece is formed by coiling the strips of clay within a mould, as described in Chapters VI. and VII., or by building it up by eye, assisted by a cardboard outline (see plate), or it may be formed entirely by eye, like the rose-bowl with a moth design in Chapter VI. The first method, while it is the simplest, is not the best to begin with, for one relies too much upon the mould, and unconsciously uses it too often, instead of training one’s eye to make a true and beautiful form. The second method—testing the form with a pasteboard outline as the piece is built—will be the best to start with. Having decided upon the shape he wishes to make, the potter draws it in outline (natural size) upon a piece of cardboard. It will be wise to choose a form as nearly like a cylinder as possible; for example, a jar for flowers. The outline sketch is divided by a vertical line ruled exactly through its centre. Another straight line, parallel with the first, is drawn three inches to the right of it. The outline is then cut out (see Fig. 9) so as to make a guide for the contour of the jar. A flat, round piece of clay, about five inches in diameter and half an inch thick, is now moulded and placed in the centre of a plaster tile. In the middle of this piece, a circle, two and three-quarters inches in diameter, is drawn with a tool. A lump of clay, which has been well worked to get out all air-holes, is rolled on the table with the palms of the hands (near the base of the thumb) lightly, yet with sufficient push to make the clay revolve wholly each time. If the roll flattens from too hard pressure, pat it into circular form, and continue to roll it until it is of even thickness—about an inch in diameter. It is then flattened evenly, one end is cut into a long point, and the coil is started on edge, narrow side up, on the circle drawn upon the clay bottom, which has previously had lines criss-crossed upon it back and forth with a steel tool, to insure the first coil’s clinging to it. To make this even more certain, a touch of slip is brushed lightly here and there over the edge of the circle. While the thumb and middle finger, on either side of the coil, support it, the forefinger presses it down firmly on to the bottom all the way around (see plate). It is so much easier to flare the walls of one’s piece than to make them straight, or bring them in, that they should be kept as nearly vertical as possible, especially in starting. When the circuit has been made, cut the end of the clay strip into a long, flat point which will fit evenly in with the one at the beginning of the coil, and press the edges together with the flat of the nail of finger or thumb. This is also done where the edges of the coil come against the bottom, outside and in. Quick, firm, yet short strokes of the nail up and down join the edges. In putting on the second row, no marking with the tool is necessary—only to brush it with slip. After the second row is added, the jar is put out in the air for half an hour or so, until it has stiffened a little. This is supposing that the potter is working at a time when the clay will not freeze. When the weather is cold, the piece must be left to stiffen indoors, as pottery that has once frozen is useless. The inside of the bottom and walls are then smoothed with great care, for, as it is to be a tall jar, this must be done before the walls get too high. Two more rows of coiling are now added as before, testing the shape by pressing the cardboard outline close against it all around the circumference. After this, the jar is again put out in the air for half an hour or so. This method is continued until the jar is built up.