Escolar Documentos
Profissional Documentos
Cultura Documentos
By
MA R! W H I TE
I ll u s t rate d by th e A h
u t or
NEW ! OR K
A
D O U BL ED ! , PA G E CO M P AN!
1 904
Li mw ~f
M am7 3 3
-
TWO mm m
ns-3
OCT 2 0 1904
C OP ! R I G H T , 1 90 4 , B!
D OU BL ED A ! ,
P A GE CO M P A N!
P U B L I S H ED , OC T OBER , 1 90 4
Ack no w le dgme nt i s h ere b y made t o th e B u re au
o f Ame ri c a m
n E th no l o gy fo r p e r i t t i ng th e u se of
t h e i ll u s trat i o ns re pro du c e d i n Ch ap t er ! I .
P R EFA C E
old masters in various lands and ages how they
were content to spend a lifetim e in the study
and practice of it .
to day
-
,
has lear ne d the rst steps of the craft .
II . H and -
made P o tt e ry
III . Wo rking o n th e Wh e el
IV . M eth o ds of D e co ra
tio n
VI . P o tt e ry fo r Be au ty and U se
VI I . How to M ak e a P l aste r M o ul d
VI II . T h e M aking o f 21 T il e
I! . T h e Kil n
! . Bask e t -
C o v e re d P o t tery
! I . I ndian P o tt e ry
O utline 3 C o
. ntinu ing . t h e Pie ce
Wo rking o n th e Wh e el !
I A p ale gree n b owl fo r owers 2 A cre am
-
A A
. . .
o wer a i h o ha n l
j u g 3 . .
j r w t t w d e s 4
-
. .
4 A la
. . .
fo r candy mp b o w l
. .
-
A
-
. . . . .
fo r wat er pl ant s 4 -
o we r c andl e st ick
. .
Th e M ak ing o f aTile
Bask e t co ve re d P o tt e ry
-
I ndian P o tt e ry
I ndian P o tt e ry
Te co Wa re
S o me Pie ce s o f Vo lk mar P o tt e ry
A Pie ce o f Newco mb P o tt ery
L I S T O F FI G U R ES
L I ST O F
FI G U R ES Cont i n
ued
P A GE
T h e Clay s and Too ls
H OW T O M A KE P OTT ER !
CH A P TE R I
THE CL A ! S A ND T O OL S
an d twigs like coal or peat S trange to say thi s .
,
3
4 H ow to M ak e P o ttery
and give as their reason for the belief the fact that
bur ned clay loses i ts plasticity never to get it ,
by lessening t h e sh rinkage .
, .
added .
, , ,
to a pottery where the red ware is re d so that
one s pieces can convenient ly be sent there i t
might be wiser to use it than to buy ner clays
for ring .
, ,
b ere mixed a
-
s already described
, .
To o ls
B oxwood modelling tools are useful fo r the
han d m oulded pottery and for decoration One
-
.
10 H ow to M ake P o ttery
FI G . 2
FI G .
3
FI G .
4
FI G 6
.
FI G . 8
useful Th ese may be bo ugh t of dealers in potters
.
essent ial .
HA ND -
M A D E P OTT E R !
I
S
1 6 H ow to M ak e P o ttery
wit h a mo t h d esign in Ch ap t er VI Th e rs t .
,
m
meth o d whi le i t i s t h e si ple st is no t t h e best to ,
.
,
it is of even t hi ckness about an in ch in diam
eter It is then attened evenly one end i s
.
,
1 8 H o w to M ak e P o tte ry
a t of t h e nail of ng er or t h umb Th is is al so .
2 Tes i ng h O tli n e
t t e u
3 . C on ti n i ng h Pie c e
u t e
H and -
mad e P o ttery 19
the j ar is buil t up .
,
-
t h e pie ce is Spoiled .
pie ce cracks again a long deep crack that goes , ,
pale gray in colour grind some pieces of baked
-
, , ,
th em .
r ed in the biscui t that is before it is glazed and , ,
baked clay .
W O R K IN G O N TH E W H E EL
as is proved by fragments
of pottery still i n exi stence .
FIG 1
wheel is used to this day !
2
7
2 8 H o w to M ak e P o ttery
, ,
with life !
The rapidity wit h which pieces can be formed on
t h e W heel is an advantage over other processes ,
, ,
I t is bra ced by a
board on either side
FI G H
ex t e n di ng di ago n ally '
forw ard from the leg of the seat to the oor and by
, ,
elbows a r e b r a c e d
against the sides and ,
FI G 1 3
.
thumb w h i c h re sts
against it t h e forenger of the right hand hav
,
FI G . 14
nished .
H o l d i n g the tool ,
the wheel turns lay the left forenger wet with slip
, , ,
rs t t w o .
FI G . 1 7 FI G . 18
w ay at the bottom ,
FI G 1 9
on the other side of the
.
either side of the bottom cut criss cro ss lines for an,
-
40 H o w to M ak e P o tte ry
slip ,
and att ach thi s end in t h e same way as t h e
rst Th e ot her handle i s put on in t h e same
.
manner .
complete t h e pie ce .
r
mos t at t r ac tive fo r s h or t st emmed o w e s viole t s -
ower s .
M e th od s of D e co rat io n
CH A P T E R IV
M E TH OD S OF D E C O R AT I O N
result .
o f rings .
D i s h fo r Candy w i th R i ng D es i gn
Materi a
ls A w h e el -
mad e d i sh or bo w l ,
d!
require Ultramari ne b lu e w at e r-
co lo u r p ai nt ,
43
44 H o w to M ak e P o ttery
A small w at e r -
co lo u r p ai nt bru sh
-
w i th a ne
p o i nt ,
A s au c e r of gro u nd ,
b ak e d cl ay , mi xe d w i th
w ater ,
A pi t c h r e of w at er .
d ry i s the mo s t fr agile p ar t
, It s h ou l d be held in .
sti ffens .
it is dry .
FI G . 2 0
Incising i s an ab so
lu t e ly simple p r ocess ,
of t h is m e t h o d of
decor at ion are s h own
FI G 2 1 .
in t h e fr ui t bowl wi t h -
Ma
teria
ls A small w h e e l mad e b o w l
-
req u ired ! A p o i nt e d s t e e l t o o l ,
A p o i nt e d b o xw o o d t o o l ,
A b o x w o o d t o o l w i t h c u rv e d p o i nt
-
.
FIG . 2 2
FI G . 2 3
FI G . 2 4
TH E GL A Z E A ND H OW T O A PP L ! IT
CL A Y
that is Simply baked without a glazed
the p ores o f h i s p o t t e ry and later perhaps by the
,
with a glossy ni sh .
I n preparing
the ux it is melted like glass and ,
of vari o us Sizes o ne t hat is an i n ch wide one ,
smaller and another larger will be e nough of an
,
quantit ies ve cents worth at a t ime Cover this
be r ed before they are glazed i n the biscuit as it ,
glazed on the green clay the term by whi ch
unbaked clay is know n among potters The pie ce .
qui red and then glazed All vessels that are used
, .
or opaque .
It is appli e d as follows !
t e ry composed of re a
, nd blue clay which requires -
M ix 1 p o o nful o f so ft gla
t able s ze ,
every directi on w hat an artist w o uld call cross
hatchi ngan d o verlapping slightly like the shi n
gles o n a h ou se The bott o m receives but one coat
.
e dl y
, an d the rest of it i s glazed From time t o .
be th oroughly mixed .
.
,
The sides and top edge o nly are glazed this time .
ing t h ings to one s c olou rs and glazes leavi ng here ,
tion .
use on the green clay about t h e consistency of
whi pped cream I t is applied somewhat di ffer
.
,
-
r -
are obtained by e ri ng ! uality that combina .
P O TT ER ! F OR B E A U T ! A ND US E
, ,
,
-
Materi a
ls Ab o u t 4 5 p o u nds o f clay ,
A p las t e r mo u l d fo r a b o w l , 1 0 or 1 1 i nch e s i n
di ame te r at th e to p ,
Th e o val t o o ls o f sh e e t st e e l ,
Th e w o o den mo d e lli ng t o o ls ,
Th e p o i nt e d st e e l t o o l,
A i nt b ag ,
A ro lli ng p i n-
A b o w l o f sli p ,
A small sp o nge
68 H ow to M ake P o ttery
!
'
FI G . 2 5
and re d again .
C andles ti ck ,
Th u mb D es i gn
Th e p o i nt e d st e e l to o l,
A plast e r slab ,
A sma ll S p o nge .
FI G 2 6 '
on to the base .
out o f d o ors or in
d oors over ni ght it is
,
give i t a sturdy su b ,
FI G 2 7 .
ter
74 H o w to M ak e P o tte ry
B ow l f
or a L amp
Ab o u t 3} p o unds o f clay 1
,
A p las t e r mo u l d fo r a bo w l ,
Th e w oo de n mo de lli ng t o o ls,
Th e v al sh e t
o e st e el to o ls ,
Th p o i nt e d s t
e eel to o l,
A ro lli ng p i n -
A i nt b ag ,
A small S p o nge .
wet with slip and the coil is att ached in the same
,
been cho sen after the sides are covered with layers
,
where t h e pott er cut s his mark asimple quickly ,
FI G . 2 8
Ab o u t 4 } 1 p o u nds o f w e ll -
mi x e d cl ay ,
A p last e r Sl ab ab o u t 10 by 1 2 i nc h e s ,
Th e o val t o o ls o f sh e e t st e e l ,
Th e p o i nt e d st e l t o o l e ,
A ro lli ng p i n -
A me di u m i d p ai nt b ru sh w i t h ne p o i nt
-
S ze -
w a t r e .
as described in Chapter
I I and beginning at the
.
,
FI G 2 9 .
80 H ow to
m
such a Shape E ach time aco il i s added the wall
.
ed steel t ool .
F m 30
. ( see plate ) are formed of
rolls of clay (the co nsi st
ency of that used in making the j ar ) ve and a ,
H OW TO
PL A S T E R M O U L D M A KE A
At th l ef t i s a p la s ter m o l d and b es i de it a ro s e b ow l w hi h w a s p a rtiall y for m e d
e u ,
-
c
wi thi ni t . S ee chap t r V I I e .
PO TT E RY F O R B E A U T Y A ND L S E
Th e l am b ow l on th e l e f has a gr a y b ma g a e Ne t it is a ca n d le s c k w i h
th e ma k s of h p o e r s h m b on e e ry ar T h w all ja i n h b ac k gro n d is for
p -
t -
ue t
-
z . x to ti , t
p la n s ha grow i n w a er
t t t t . t e t e w e r c t t
P o ttery f
or B eau ty and Use 81
m o st attractively .
M ateria
ls Abo u t I i !
po u nds o f cl ay ,
required Th e w o o de n mo de lli ng t o o ls ,
Th e sh arp -
p o i nt e d st e e l t oo l ,
A plaste r ti le ,
A ro lli ng p i n -
.
A fter the rst coil has sti ffened and the sides have
,
with slip .
R ose B ow l -
w i th M o th D esi gn
Ma
teri a
ls Ab o u t 5 p o u nds o f clay ,
required ! A ro lli ng p i n -
Th e o val s h e e t st e e l
-
t o o ls ,
Th e p o i nt e d -
st e e l to o l,
Th e st e e l to o l w i th a at e nd ,
A p last er t ile .
, ,
tool and wet with slip and the rst coil is attached
,
( se e Chapter 11)
Two coils are built up and then they are pressed
,
moth and t h e s a m e ,
bowl i s put aw ay to
harde n i n the air if ,
t h e temperature is n o t
t o o cold otherwise i n
,
d o ors I t is built up
.
.
,
, ,
po lish it dry .
Wh en the bowl is thor o ughly dry s ay t h e
fo ll owin g day i t is ready for the decoration .
w ith s p ac es an in ch and a h a
lf b etween them will ,
86 H o w to M ak e P o tte ry
F low er Candles ti ck
M ateri a
ls Ab o u t I % p o u nds o f cl ay ,
sho ul d be taken t o have it su i ci e nt ly thick at
e lle d
. No w m oul d the st em about an 1nch in ,
candle .
H OW TO M AKE A P L A S T ER M O UL D
, ,
A B ow l s h ap-
e d M o u ld o f P las ter
Ma
teri a
ls 6 or 8 p o u nds o f cl ay , w e ll mi xe d ,
required A b o w l o r mo ul d i n b o w l
, sh ape ,
91
9 2 H ow to M ake P o ttery
A di sh p an o f w at e r ,
A b ag o f gr o u nd i nt ,
A st o u t c o rd o r ro p e ,
A w oo de n w e dg e ,
A fe w d ro p s o f o li ve o il ,
Th e w o o de n mo d e lli ng to o ls ,
Th e re c tangul ar t o o l o f sh ee t st e e l ,
A large h o e sh ap e d t o o l
-
A large k i t ch e n sp oo n .
.
,
R os e -
B ow l S tarted i n a M ou ld
Ma
teri a
ls A bo w l ap e d mo u l d o f p last e r
-
sh , 3} i nch e s i n
di ame t e r at t h e b o t t o m and 9 ; i nc h e s at
th e to p ,
Ab o u t 35 p o u nd s o f clay ,
A b ag o f gro u nd i nt ,
Th e w o o de n mo de lli ng t o o ls ,
Th e o v al t o o l s o f sh e e t s t e e l
rp
, ,
Th e sh a p o i nt e d st e e l t o o l ,
A b o w l o f sli p ,
A small sp o nge ,
A ro lli ng p i n -
.
, ,
FI G .
35
l I
r
N)
f
r
) 0
CH A P T E R V II I
TH E M A KI NG or A TIL E
tiful in colour .
10 4
wh o le mantels to match the colour scheme of
a library or my lady s boudoir
.
it i s to be sure yet it , ,
S uppose we moul d a
tile and learn by experience just what the d if cul
ties are and how to surmount them .
by p o t t e r s , gr og
!
.
b y shrinkage .
required
Ab o u t 4 1 p o u nds o f t ile clay
,
b o ar d 1 4 5 i nch e s w i d e b y 2 1 i nch e s lo ng
, ,
3 p i e c e s o f w hi t e c h e e se c lo t h 1 5 b y 2 1-
i nc h e s , ,
A ro lli ng p i n -
Th e re ct angu lar sh e e t -
st e e l t o o l,
A T sq u a re o r a p i e c e o f sh e e t me t al ,
8 by 8
i nch e s ,
A st ro ng sh arp k ni fe
, ,
A b o w l o f sli p ,
Th e b o xw o o d mo d e lli ng t o o ls ,
Th e p o i nt e d st e e l t o o l,
Th e st e el t o o l w i th at p o i nt .
scribed .
106 H o w to M ak e P o tte ry
I t is th en pounded at
wit h t h e thick part of
the h and into an irre gu
lar square cake and ,
FI G 38
rolled wit h a rolling pin
.
eighths o f an inch t hi ck
when planed and two ,
It s h o u l d the n b e
smoothed with the rec
ta ngul a r tool of she et
steel .
so sp o il th e tile
. When re inforced the edges bein g
, ,
and the four depr essi ons are moul ded evenl y as ,
day following .
evenl y.
The M aki ng o f a Ti le 1 09
H avi n g ch o sen a simple design fo r example the ,
on e shown i n Fig 38 draw it up on the tile i n p en cil
. .
cu rved pointed wo o de n
t oo l in cise the outline
still deeper Make a
!
, ,
of course , supposing
that the tile has not become very dry i n which ,
is rm S hould o n e by .
fore setting the tile away to dry for the last time ,
V ) will ni sh it attractively
. .
holding a o w e r pot or vase of o w e rs protecting
-
41 42, and 4 3
, .
CH A P T E R I!
TH E KI LN
p re ci at e t his Though
. charming in colour a ,
Spot o n the highest shelf out of reach of children
,
!
and others who like to look with their hands .
1 13
1 14 H o w to M ak e P o ttery
ing on t h e side .
perfecting a piece of pot ery putting t h e nal
t
a business t h e expense and care o f owning one s
,
o ne may no t care to
of kilns and h o w
they d o their work .
TH E O PE N -
F IRE KI LN
The open re k l ln -
FI G 4 4 .
B 8 t h e r e b o xe s .
CC t h e reb a ck s
have been used fo r
DDDDD t h e p assage and
generat ions by p o t o u t le t s t h ro u gh w h i c h t h e
h e at e nt e rs t h e k iln
ters in E ngland ; and
.
A A A A are t h e re b o x e s
- four sides of the central
B B B B B B B B B B B B th e p a
sa ge s fo r t h e h o t ai r
s
C hamber
.
W here th e p ot
,
,
h o t air .
the re .
part of t h e kiln .
potters say ,
! !
slips the glaze is Spoiled and the
,
drawn as follows
At equal distances around the kiln are four peep
holes small round apertures on a level with the
,
nis h e d t h at nigh t ,
but t h e kiln i s no t
opened unt il i t h as
cool ed fo r m a n y
hou rs .
TH E M UFF LE KI LN
The muffl e kiln is
shown in Fig 4 6 . .
Th is res at a lo w
degree o f h eat com ,
A i s t h e mu i e b o x o r c h amb e r
-
mos t ly u s e d for
fo r t h e p o t t e ry .
su pp o rt i ng t h e b o x and o t h er
p art s o f t h e and for glazing In .
C C Th e d o o rs w h e re t h e fu e l
and p o t t e ry resp e c t i ve ly are t h is kiln t h e re
p ut i n.
co ul d no t c ome in
D D D Th e ! p assage s fo r t h e
h e at e d ai r .
di re ct cont a ct wit h
E T h e ash p an
-
.
t h e ware so t hat ,
B A S KE T -
CO V ERE D P O TT ER !
!
had a basket plus an earthenware pot !
The t w o crafts have helped each other from that
day t o this The Indian woman suspends her
.
ha
s i ts case and h andle of pliant cane .
Ma
te r a
i ls A n I ndi an po t t e r y bo w l i n w h i te and I ndi an
re qui re d re d , 6 i nch es i n di a met er at t h e top ,
A bu nch o f I ndi an re d r afa ,
o w e r p o t clay
-
In t h at case h owever t h e whi t e
.
, ,
a cushion on one s lap or to
some rm soft obj ect near
,
o f r a a double t h e m
,
knot t hi s ti me th at i s repeat t h e proces s alr eady
,
around t h e ne t making a d ouble S olomon s knot
each time .
fastened t o it .
1 30 H o w to M ak e P o ttery
B row n R attan
Th e P o t t e r y J ar ! Ab o u t 2 5 p o u nds o f cl ay ,
Th e w o o den mo de lli ng t o o ls ,
Th e r c t angu lar t o o l o f sh e t st ee l
e e ,
Th e p o i nt d t l t o o l e s ee ,
A bo w l o f S li p ,
A small sp o ng e,
Th e B a k e t Co v e ri ng ! Ab o u t si x le ngt h s o f
s
NO 4 d e p bro w n rat t an
. e -
A p i ec e o f ne b u t st ro ng w i r 4 i nch e s lo ng e 2 ,
A p ai r o f pli e rs ,
ngered Japanese tho ugh the j ar w as bought in
Hawaii .
and a half inches which allows an inch on length
and breadth for Shrinkage Upon t his foun dation .
usual not over a qu arter of an inch thick A S the .
up ,
and rmly bound to the handle with a piece
of wire whi ch may then be covered with a binding
,
of raffi a .
sli p .
Bas k e t C overe d P o ttery
-
1 35
teri a
Ma ls A jar o Flemi sh p o tt e ry
f , 4 i nch e s h i h g ,
2
req u ired ! i nch e s i n di ame t e r at t h e b o t t o m and 1 i nch
at
th e to p ,
Abo u t si x le n th s g of N O . 00 gre e n rat t an .
average purse
The colours are beautiful deep
.
methods are carefully followed the pieces are
wheel made no t formed in moulds Mu ch o f the
,
.
w e t u nt il qui t e so ft and t h en t w o o f th em ar e
,
j ar does no t cling as it ought it shoul d be thor ,
,
. .
completed covering .
Green R attan
M ateri a
ls A gre e n p o tt e ry b o w l 5 5 i nch e s i n di ame t e r at
t h e u pp e r e d ge a nd 31 at t h e b o t t o m
N
,
3 p
0 i e c e s o f p ale gr e e n o r a t
-
t an 4 8 i nc h e s . 00
lo ng
le gre e n N
,
2 le ngt h s o f p a O rat t an
-
. 00 .
upon these en d s and th ose succeeding t h em keep
ing t h em abo u t half an in ch apart As t h e re is an
.
A second ro w o f knots
is made at an in ch from
the rst The case is
.
moul d it in to t the
shape Tu rn the bowl upside down and at
.
,
Th ree H andle d B ow l
-
f
or P lants or F lo w ers
requi re d ! A p last e r mo u ld fo r ab o w l ,
Th e w oo de n mo d e lli ng t o o ls ,
Th e o val t o o ls o f sh e t st e el
e ,
Th e sh arp p o i nt e d st e e l t o o l
-
A bu nc h of r afa .
deep one make the n ext coil free from the sides of
,
1 44 H o w to M ak e P o tte ry
the moul d almost vertical in fact Th e coil that
,
absolutely even by t h e
p r o c e s s described in
Chapter II
FI G 5 2
.
.
steel tool and wet with slip The handles are then
.
I N D I A N POTTE R !
I 49
1 50 H o w to M ak e P o ttery
FI G .
54
g r e w in abun dance
w oul d excel in that FI G 5 5 .
of the difference in
climate While t h e.
stay at home a n ( 1 ,
nl
In o y a few cases is there any doubt notably
some Spool Shaped articles of clay found in the
-
E arth en vessels w e r e
employed in religiou s
and other ceremoni es ,
FI G 5 7.
of pipes a host of small ,
In t h e lower Missis
sippi Valley clays were
employe d in plastering
the walls of cave dwel
lings as well as for the
,
FI G 5 9
.
oors .
FI G . 60
were particul arly elab o rate a head of an animal
15 6 H ow to M ak e P o ttery
( e e Fig
s .
somewh at perishable no ,
FI G 6 1
.
t h
'
v u rl
I ndi an P o ttery 1 57
baske t or gourd w as FI G 6 2 .
used as a moul d or ,
There are no evidences of anyt hi ng lik e the potte r s
wheel the nearest approach being t h e basket
,
baskets .
S ome ribes t h e Ca
t
ta w ba s for example ,
simply b a k e d t h eir
ware before t h e re ,
FI G 6 3
.
w h ile o t h ers covered
t h e pieces wit h burning
FI G . 64
to M ak e P o ttery
decoration .
plate suggests o n e
delightfu l way o f util
ising t his ware Foli .
to nd a bowl wit h a
FI G 65 .
rounded b a s e the
most comfortable of abiding places to a great ,
-
.
,
I ndi an P o tte ry 1 63
is the toy p ottery money b anks i n the f o rm of -
, , , , ,
alike .
M O D ER N A M ER I CA N P O TT E R!
crazy quilts
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.
1 67
1 68 H ow to M ak e P o tte ry
, .
lumi nous gleam of gold one of the i nterestin g
accidents of the kil n Other varieties of R oc k .
made The potter s love for.
his work and the potter s ,
other nish made such as that which was pos
sessed by old Corean pottery The ware was r st .
a delicacy one might almost s ay a reserv e i a
their treatment t h at is rare and very interesting .
t h e Gru e b y Ti f
fany lamp t w o ch arming products
-
, ,
, ,
1 7 6 H o w to M ak e P o ttery
I nC1se d
or built u p designs The pierced designs of
-
.
, , ,
indoor pottery is also moul ded candlesticks ,
ep a rt me nt of Newcomb College ! .
individual one that shoul d have a charm all its
own This has been accomplished by taking as
.
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, ,
unusual e ffects .