The making of small figures is an important department 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 limitations 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 Sèvres. The Chinese and Japanese in their glazed figures show remarkable appreciation and utilization of the plastic and liquid qualities of their medium. Splendid 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
ancient Egypt offer rich suggestions for two- or three-piece moulds. Japanese Netsuke and Scandinavian 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.
Fig. 57
With a plaster original some retouching is possible
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 consequent under-cutting is to be avoided, and the inclination 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.
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 adjustment. 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 exactly. The press is then removed and trimmed up.
