The Minneapolis journal. [volume] (Minneapolis, Minn.) 1888-1939, 1905-09-02
By MARTHA SCOTT ANDERSON.

ingroom, equipped with half dozen
potters' wheels on which the thrown
pieces and monlds are made. A number
OF small rooms are used for glazing,
moulding and the storage of both ma
terials and pieces dried ready for the
kiln. In the old and roomy woodshed
a large kiln is the chief piece Of furni-
ture. This is built in and beside it is
small portable kiln. while the walls
are lined with shelves on which is
usually an interesting array of forms,
both tired and unfred, successful and
The three processes Of pottery max
ing are hand building, throwing and
moulding. All were taught in the guild
school this summer. The same material
is used for all the processes. the only
difference being in the consistency of
the clay. In hand building the clay is
stltfer-about like that used by sculp-
tors or by the children in school.
Preparing the Clay.
The clay used thus far has been the
Red Wing article just as it is received
from the clay beds, and it has proved
SO admirable base for glazes that it is
likely to be used with little modifca-
bination are planned. A boy pre-
Pares, the clay for the potters by break.
ing the humps, sitting it, moistening it,
! and kneading it smooth. before forming
it into bricks of convenient size for
handling. The clay used in moulding
is mixed in a churn with water, half
and half and the Slip as it is called,
readily. The slip is used also for the
glazes, with the addition of the various
colorings. The glazes all look so much
alike that they have to be kept care
fully labeled and . great care must be
/ exercised not to get pieces mixed up
4 in the glazing or there would be wholly
unexpected and perhaps not pleasing
] complnatlons resulting from putting on
1.-TWO or three coats of glaze Of different
i cOlors.
Work from Drawings.
Before making a piece working
drawing, full size, is made and the work
is tested at every stage by measurin O
with the drawing. = The tools used are
few and simple lockwood sticks with
pointed or sspatula-shaped ends, thin
disks OF flexible steel Of various shapes
and small, hoe-shaped instrument for
use at the wheel With these the in.
: capabilities Of the surface are smoothed
off. cracks closed and ineisions made
and sections removed. The final
smoothing up is done by wetting the
clay with a sponge and rubbing with
+ fingers and thumbs; Sand paper is
1 also used in giving a smooth finish.
When the modelling and surface fin.
lshlng IS completed the pieces are dried
thoroly before, firing. Green clay can
8 but at the guild all the pieces are fired
in the biscuit" and the glaze put on
after this firing. The first firing does
!. not require so great degree of heat
as for firing the glaze, but by. putting
the biscuit pieces in The cooler parts
OF the kiln, both processes. can 60 OF
I economical plan. About sixty pieces
Of average size; can be- stacked in the
fhe.Red Wing clayrequires a.rathel
i high degree of heat. essIn order Ito tel
4 VIXEN he heat is sufficient, little cones
OF various materials, melting at diff
ferent degrees OF heat; are used. These
sssh From tte kR 1asa can B
command views Of the.#two shelves or
which the. pisces are usually stacked
i When the#testcone drops over, the fire
IS tnrned off and The kiln is allowed
to cool, but as it retains it's heat, the
8 pieces are. kept at the fusing point fo1
amalgamates with the pottery of The
body and is thoroly blended, making
beautiful even covering, if the work
is well done. Ordinarily, but one firing
IN the glaze is necessary, but if there
: are, any defects. fresh glaze can b.
added and the piece given another fir
ing. Sometimes some part of the kill
does not get hot enough to complet,
the work Of melting the glaze and tn,
pieces in it have to go thru the fir,
again. -e*
AS the glaze dripping off the side
would form thick base at the botto1
Tif the pieces were put right on the foo
or shelves of the kiln, each piece is SUP