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| - CHAPTER XIV FIGURINES "But if you carve in the marble what will break with a touch, or mould in the metal what a stain of rust or verdigris will spoil, it is your fault not mine." RUSKIN. THE making of small figures is an important de- partment of ceramics] scarcely mentioned so far. It is one offering exceptional opportunities to the advanced craftsman. In this branch of potting, even more than any other, the possibilities and limi- tations of the clay and glaze need close study if best results are to be obtained. The archaic Sung and Tang figures and the well-known Tanagras are far better guides to the beginner than the wonderful Dresden porcelain or the bisque groups of Sevres. The Chinese and Japanese in their glazed figures show remarkable appreciation and utilization of the plastic and liquid qualities of their medium. Splen- did and sound work, too, has been turned out in recent years in Germany and Austria, whilst the Copenhagen porcelain is world famous. To start with, the simplest decorative figures might be attempted. Many of the little deities of 141 142 FIG. 57 ancient Egypt offer rich suggestions for two- or three-piece moulds. Jap- anese Netsuke and Scan- dinavian bone carvings are other stimulating, if more remote, fields. Next, a more ambitious but still uncomplicated figure could be moulded directly from the clay. As the difficulties of moulding increase, the original clay may be first fired or a good plaster cast made. In firing the figure a very slow fire must be used, and the modelling must be done carefully, as free from holes as may be, and without an armature. Air holes are apt to blow, and additions of soft clay to the model when hard are likely to crack off in firing. With a plaster original some retouching is pos- 143 sible before the final piece-mould is made. When modelling the head and face, the modifying effects of the glaze used must be realized, so that such detail as may be depicted shall have its full value in the finished figure. Too much realism in draperies with conse- quent under-cutting is to be avoided, and the inclina- tion of all but the high-temperature glazes to leave prominent parts and pool in hollows must be heeded. Sharp edges are always bad, and projections that are liable to crack in the fire or break at a touch are a fruitful source of loss, and are, at the best, doubtful craft. It is quite possible to produce delightful figures glazed with low-firing glazes, and where a wide range of colour is desired, they are the only glazes available. But for delicate modelling, where colour is a secondary consideration and where refinements may be obscured by too much gloss, the grand feu porcelain or salt glaze are the best and only alternatives. But each man to his taste. We will start with a simple two-piece mould for pressing. Small objects, not necessarily figures, may be modelled in the round, being designed therefore without under-cut to pull in two halves. They should be highly finished and then biscuited. The fired original is then shellacked or oiled and carefully bedded in clay up to the halfway line. If the figure be first dusted with French chalk, it will leave the clay without trouble. 144 KGDVi Little walls being built, the first half is then cast. When set, the biscuit figure is removed, the sides of the mould trimmed, the joggles cut, and the figure fitted back. The sides are carefully clay washed or oiled and the second half of mould cast. When set, the two halves are gently pried apart and a groove hollowed out all round the inner edge of the mould. (Figs. 58 and 59.) This groove is for the reception of any surplus clay that would otherwise squeeze between the two parts of the mould and prevent their perfect adjust- ment. To make a press, each half of the mould is carefully filled with clay, well pressed in. Then they are applied and firmly squeezed together, until the two halves fit ex- actly. The press is then removed and trimmed up. The second essay might follow the lines of the statuette here illustrated for the three-piece mould. FIG. 58 145 FIG. 59 A decorative treatment, giving stiff lines and a simple silhouette, is chosen. The hands are concealed, and the face, the only flesh showing, clearly cut out by the costume. The sec- tion shows the compara- tive depth of the folds in the drapery. Three pieces only were used for the mould, indicated by the illustration. (Fig. 63.) In moulding from plaster or biscuit the model must be absolutely non-absorbent and should be carefully treated with shellac, beeswax dissolved in turpentine, or parting. Beeswax is best for fine work and should be applied very thinly and re- peatedly. Clay originals need no preliminary treat- ment, if the clay is still plastic. The divisions of the mould being decided upon, plastic clay is rolled out thin, cut into strips, and built round the section, as shown in the illustrations. (Figs. 60 and 61 .) The exposed figure within the clay walls is then very slightly filmed with olive oil. The plaster is then mixed and thrown on or poured. The walls should stand out at right angles to the circumference of the figure or so nearly as the exi- gencies of the figure permit. They should be 146 FIG. CLAY \ uttresscd S w " ere needing support, and be FKONT dee P enough to give a good thickness to the mould. When the plaster sets, they may be re- moved, and when quite hard, the plaster itself detached. This comes away quite readily from the clay, but is apt to hold on plaster or bis- cuit. A little water dropped from a clean sponge onto the cleaving line will often re- lease the two parts. The model is cleaned up and the sides of the first sec- tion trimmed, slight joggles made where they will not bind, and the edges care- fully shellacked or clay washed. (Fig. 62.) Model and section are then fitted together and the next section made in a similar manner, except that only one wall of clay will be built. The second section is treated in the same way, and for the last piece the clay wall is unnecessary, the plaster being poured directly in between the two other sec- tions. Where the plaster has to be sprinkled on, or there is any danger from splashes, the exposed FIG. 61 F1R/T JflECfOf- MOULD Fio. 62 parts of the model should be protected with soft paper. The last piece be- ing set, the original is removed, the mould assembled, trimmed, or fettled, tied up, and set to dry. The casting, or pressing if it be large enough, is pro- ceeded with as Jbe- fore described, the slip being poured in at the base. When removed from the mould, the open base of the cast may be closed with a thin slab of clay slip poured on to a plaster bat and allowed to set for that purpose. When tough, the figure should be touched 149 SECTION OF ABECEMoqU) &KFJAINING CATEWTH FLATTOP TO FACILITATE TBJO/ING - FIG. 63 up with skill and reticence. Finally, a little hole is made in the closed base and another as inconspicu- ously as may be in the back of the head, to prevent blowing in the fire. With more complex figures many more pieces will be needed for the mould. They are made in the same way, but are carefully trimmed and then encased in an outer frame or jacket of plaster. (Fig. 63.) Large figures should be pressed ; the head first, the different 150 sections of the mould being fitted into the containing case as the work progresses. More retouching is needed with pressed figures, but the time spent is well spent, for they possess a substance, and when retouched with art, a character, that is lacking in the more fragile cast. IMPART OF: MoqL; WcClTON /HEWING DttTHOFFOLIV INPRAEEKY FIG. 64 arly FIG. 65 CategorÃa:Pottery, for artists, craftsmen & teachers
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