Pottery, for Artists, Craftsmen & Teachers

by George James Cox

Fig. 15

Fig. 16

Let the mould drain a little over the slip bucket and then reverse to dry

slowly. When the wet look has disappeared from the surface of the slip, scrape the top free and run a knife around to prevent sticking as the shape contracts. (Fig. 16.) In a few hours it will be dry enough to permit of the sides being eased off and the shape left to dry on the base. (Fig. 17.) When tough enough to handle with safety, the waste and cast lines are trimmed and finished off, any air bubbles or holes broken down and filled with clay scraped from the waste or base. If this finishing is left until the shape be dry, it is impossible to hide such defects. The greatest care must be exercised in handling cast shapes, as they are exceptionally fragile.

Fig. 17

When quite dry, the whole form should be carefully gone over with a very fine sandpaper. A superfine surface should be imparted by rubbing with the hands. When using transparent glazes, as with under-glaze painting, it is essential that all scratches

be removed, and especially must all sharp edges be eliminated on neck or shoulder, for the glaze running away from these places imparts a hideously cheap look to what otherwise may be a fine shape. All these points having received attention, the date is scratched on the bottom of the shape and it is now ready to biscuit.

Generally speaking, it will be found that slip the consistency of cream is right for casting, possibly thicker for big open shapes, and after the right proportion is settled it is as well to test what it weighs to the pint.