4. POTTERY OF VARIOUS SHAPES: OVOID, SPHERICAL, ORGANIC —Coil Construction

Material — gray or terra cotta pottery clay, about the size of half a loaf of bread

Tools        — use fingers mostly; one wood and one wire tool, plaster bat about 6" x 6"

DESIGN. Design is the most important part of any craft. An object which is technically perfect, but has no distinguishing quality of design is lifeless. It is difficult to direct the student to make a good design or even to describe one, because the sensitivity involved is visual and sensual. But a beginner can perhaps be led to conceive in simple values of form, color, and surface decora­tion or texture. For this reason, it is recommended here that the beginner first design with the basic geometric units such as a cylinder, a sphere, an ovoid, or a cone. The whole or part of a unit may be used, as for example, below. Each can be converted into an utilitarian object.

In using these forms, the major design consider­ation is the proportion of height to the width. For example, (below) a tall slender vase and a low squat one can both be made from a cyl­inder, but the design feeling of each is differ­ent. These forms may further be altered by changing the top, such as flaring or turning it in, or by increasing the height of the bottom.

Every piece of pottery should be finished at the top with an edge, turned slightly inward or out­ward, and should have a base or foot in propor­tion to the size and shape of the pot. For ex­ample, a tall vase can have a predominant base, while a low vase should have an unobtrusive base. The base should also be considered struc­turally so that it supports the piece, keeping it well balanced so that it does not tip easily. It is interesting to note that structural parts of pot­tery have names that correspond to the human form; for example: lip, neck, body, foot. This is not an accident, but implies that these parts have a similar effect in proportion and function to a pot as they have in the human body.

CONSTRUCTION. All of the forms suggested above can be made by the coil method. The shape of an object is first conditioned by the shape and size of the bottom, and second by the contour or profile of the wall. For example, shallow dishes, trays, or bowls can be made by shaping a bottom and adding one or more coils upon it, welding them together. The slope or direction of the wall, however, requires a differ­ent placement of the coils. For example, if an ash tray, three coils high, has straight sides, the coils are placed directly above each other ver­tically. If the sides flare out, each coil is placed a little further away from the center than the preceding one. If the sides taper, each coil is tilted toward the center.

In pottery of varying contour, all three positions of coils may be used. For example, take the con­struction of the Mexican water jug, described below and on page 32. The coils are first stepped out for the flare of the sphere (Figure 1) until the sphere begins to turn inward where they are stepped toward the center (Figure 2). When the neck begins, they are stacked vertically (Figure 3). This, or a similar shape, is a good exercise for the beginner. Be sure to weld each coil to the next as you build. Sometimes a templet is used to help guide the shape as it is built up. It is made by drawing half the profile of the object on a stiff board and cutting on the line. The remaining piece is kept and tried against the pot as it progresses. A good use of the templet is to consider it as a general guide, but not too rigidly. If, when halfway built, the volume sug­gests a change in shape, examine it carefully, redraw the templet, and proceed.

At first it is advisable to make a few pieces of pottery by keeping the shape in one's mind, but when a feeling for pottery as a three dimen­sional form is acquired in this way, one should make preliminary sketches, perhaps variations on a single form with different proportions. Think in simple shapes, or geometric forms. Don't just draw a wavy line to describe a piece, nor copy another's work, no matter how fine you think it is. A good craftsman never imitates.

SURFACE DECORATION. There is the consider­ation of decorating the surface. Decoration may be applied in a variety of ways (see Project XV), but the surface will have a decorative quality of its own depending on how the coils were con­structed. If the coils were perfectly made and worked together, an even surface will result. If they were irregular and not thoroughly blended, a rough surface will result. It is best, however, to leave the surface as it results from your own workmanship, and not try to smooth it with a tool, for your particular manner of working is the mark of your individuality.

Pottery may be glazed without any other surface decoration, or decoration may be applied. The processes of applying the decoration are all com­paratively simple and can be mastered with ex­perience. The real problem lies in devising the decoration that will enhance the shape and sur­face of the pot. Whichever process you use, the pattern should have the effect of emphasiz­ing the form. Therefore (as in the cylinder), make your design move with the contour of the pot. Use rhythms that travel around, or up and down; for example, a spiral may be used on a tall piece or concentric circles inside a low bowl. Zig-zags or loops may enhance a squat piece. For the beginning, use only abstract lines and shapes which are in harmony with the general form of the pot.

Figure 1—Place coils slightly away from center when making a flared shape and weld.

Figure 2—Place coils slightly toward the center when making a truncated shape and weld.

Figure 3—Place coils directly upon each other when making a true cylindrical shape and weld.

Figure 4—Pottery forms made of a com­bination of truncated cones and spheres in different proportions, from Pueblo Bo-nito. New Mexico. Photo from AmericanMuseum of Natural History/ New York.

Figure 5—Vase by Laura Andreson.

Figure 6—Gray lavastone vase by Ger-trud and Otto Natzler.

Figure 7—Gunmetal vase by Gertrud and Otto Natzler.

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