Clay body containing 3% iron oxide is to be cleaved, sliced on wedging board into small squares V2 to % inch thick and about 4 inches square.This is first step toward making horse shown in photo above.

Grog is sprinkled liberally on each piece and distributed so that there's an even amount on each.Hollow-slab construction method is demonstrated here by Domenick Angelo, student at Sculptors and Ceramic Workshop, who just returned from Rome after using benefits of scholarship he won from BostonMuseumSchool of Fine Arts.

Clay squares are then stacked up, just like so many sandwiches, one on top of another.You can prepare quite a bit of the clay in one operation.

The clay must be wedged, by slamming it down on the wedging board hard.Purpose of this is to mix clay evenly with grog; continue until it is.

Slabs are allowed to become firm, light leather-hard, so they will maintain position when placed.You can support them with wood or ceramic blocks.

Advantage of working in this manner is that you can always change position of appendages.Other slabs are added to maintain stability of design.

Sprinkle a large board lightly with ground flint to cover surface.Then slice clay to approximate size and width for proper development of design.

Here slabs are covered over basic clay structure to enclose the skeletal form; slices are around '/z inch thick.Note that head position is altered.

There are limitations to this type of sculpture.For one thing, it is usually diffi­cult for the amateur to construct large pieces by this method.And for another, it is extremely risky when you are making figures with large unsupported areas, such as the body of a horse or a dachshund.Moreover, it is not a practical method for sculpting figures with fragile arms and legs which protrude from the body rather than hug it as part of the main mass.

In cases where the figure is to have thin legs, for example, it is helpful to work with an armature, or a skeleton structure of the desired form.An armature can be made of wood, papier-mache, wire or a combination of these materials.Its main purpose is to support the clay form while it is being modeled.It is also handy as a guide for the sculptor who has trouble re­producing objects in clay.

Shape the armature to form the skeleton of the model.Then build up the clay around this skeleton, always keeping the ultimate shape in mind.When you have modeled the general contours of the figure, add smaller pieces of plastic clay and work them into the figure with a wooden tool to get the desired effect.

A wire armature should be Removed be­fore the piece is fired.If it cannot be removed, the piece should not be fired.For this reason, the wire skeleton is most often used with plasteline instead of clay and a mold made of the finished piece for casting reproductions.

When working with a wire armature, be sure to cover the entire skeleton.If a piece of the armature shows after the figure is well along, it is almost a disaster, for the armature is difficult to bend so that it won't show—and cutting it away would weaken the whole structure of the figure.

If you are constructing a figure from which the armature will not be removable after the figure is completed, you are bet­ter off using a wood or paper mache skele­ton.Unlike the wire armature, a portion of these should be left exposed so the skeleton will burn away in the bisque firing.

You can also construct sculptured forms by the coil method.For smaller pieces, you may use the coils as "sticks"—that is, you can sculpt in much the same way a kindergarten child draws a stick figure.To make a horse, for example, use a coil for the animal's body, four thinner coils for its legs.

Modeling of the horse is now complete.Piece is now ready for surface designs, which can be varied according to personal preference of worker.

Tines of kitchen fork were used to develop con­tinuous series of lines that conform to surfaces.

When finished piece is thoroughly dry, it can be fired in kiln; if you wish, ornament it further.

Expressive, deep eyes and gaunt, high cheekbones are especially suited to a technique like this.Appeal is lasting.

Add a coil for the neck and one each for the head and the tail.Make the coils thick or thin, long or short, as needed, but make sure they are sturdy enough to support any weight they must bear.Add clay where it is needed and shape the horse accordingly.Now apply the finishing touches, smoothing the surface, scoring the back of the neck to suggest a mane, indi­cating the facial features, etc.Always work with clay that is well wedged and plastic.For larger pieces, this method is not practical.But larger pieces can be sculp­tured from outlines or forms built up by coil construction.To make a sitting owl, for example, build up the body shape in the same way you would construct a vase by the coil method.Add the coils in wider and narrower circles as necessary, until the hollow body shell is formed.Continue adding coils for the head.Smooth off the ridges formed by the coils.Indicate the bird's wing by scoring lines on each side of the body.Weld on two pointed ears at the proper places on the head.You can form the eye impressions and the beak by pinching the front of the owl's head.

Bull is interesting study of ceramic and metal composition; horns, tail are metal, cast aiter piece was made and fired.Small rolls or dabs of clay provided boy's facial texture.

Sculptors and Ceramic Workshop photos

If you wish, you may go further and suggest the texture of feathers on the body.However, an overdose of detail is generally not worth the trouble.Moreover, the longer you work on the sculpture the more risk you run of accidentally damaging it.With a project such as this it is advisable to work from a sketch or a photograph of a real owl.When the piece is completed, cut a hole in the base before firing.Since the body is already hollow, you will not have to worry about scooping clay from the center or removing an armature.

Sculpture can also be accomplished by a method which could be called the slap-dab method.This type of construction calls for consummate skill and can be too ambi­tious a project for the untutored and inex­perienced clay worker.The outline or form is built up with masses of clay, dabbed in place and worked into the model by hand, using a very plastic clay.The piece is not built as a solid figure, later to be hollowed.Rather, it is constructed much the same as by the coil method.The figure is shaped with thick walls, and is hollow.Then it is sculpted to completion.•

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