There is always a temptation, when the clay sags or loses shape, to diverge from the original idea and to allow the material to shape itself. This inevitably leads to slovenly work and should be resisted from the first. The paper template helps to correct such an impulse and the pupil presently finds that the clay can be successfully controlled if enough trouble be taken. There is much interest too in the cutting of pottery forms from folded paper. A number of these forms may be pinned on a screen and the children led to select the best in line and proportion. Too much emphasis cannot be laid on the necessity for showing the children fine examples of pottery, both ancient and modern. The more primitive types, where the form and the decoration are so perfectly adapted to each other and to the material, are full of inspiration for the child potter as well as for the adult. When one is fortunate enough to be near a museum, many illustrations will be found, but good photographs or drawings are available for almost everyone. Constant comparison and the exercise of choice will lead to a development of taste, which must affect the child whether he later becomes a producer or a consumer.
A flower holder is a good problem. It is a solid piece of clay two or three inches in diameter and an inch thick. This may be round or square in form and may have simple modeled decoration added to it. Quarter inch holes are pierced at regular intervals, in fact, they themselves should form part of the design. For the older children a shallow bowl of good line with a flower holder to fit is an interesting problem. Other good problems, which may be made more or less difficult according to the grade in which they are given, are rose jars, bread and milk bowls, incense burners, cylindrical jars, square fern dishes, candlesticks and small lamp bases.
When working out decoration for pottery forms, it is well to have the children make their designs with the modeling tool upon the clay itself. If a piece of soft clay be rolled out flat upon the table it affords the best possible medium for making clay designs. The pupil is at once put in touch with the possibilities and limitations of the material. A drawing made upon paper may have to be entirely changed before it is suitable for use on clay. The soft surface can be smoothed over as often as necessary and a new sketch made until a design is approved for application to the pottery itself. In the chapter on decoration will be found suggestions for clay treatment.