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  • Wedge and Center

    • Centring the clay is one of the more difficult concepts to grasp as a beginner. To master it will require practice and for you to use your body in an efficient manner and relaxed manner. Start with soft clay and weigh 2 kg. Then wedge until the clay is homogenized. I usually count to 75 while wedging. Then attach it to the wheel head and center. If your clay is not very soft, try adding a small amount of water to the bag a day or two before you use it. 

      1. Begin by wedging the clay. This process is similar to kneading dough and is essential to remove air bubbles and create a uniform consistency in the clay.
      2. Sit down at the wheel and place your lump of clay in the centre of the wheel head. Give it a firm tap to ensure it sticks to the wheel but doesn't get squashed.
      3. With the wheel spinning slowly, wet your hands and the clay thoroughly. This prevents the clay from sticking to your hands and makes it easier to shape.
      4. With the wheel spinning at a medium speed, use your hands to form the clay into a cone shape, then press it down into a flat, centred mound. This process, known as coning and centring, helps to align the clay particles and ensures that the clay is completely centred on the wheel.
      5. Place your elbows on your thighs for stability. Press your palms firmly into the clay, one hand on top of the other, to force the clay upwards into a cone shape.
      6. Once the cone is formed, use your hands to press the clay downwards and outwards, returning it to a centred, more flattened shape. Repeat this process several times.
      7. To check if the clay is centred, lightly rest a fingertip on the top of the clay while the wheel is spinning. If you feel a wobble or see your finger moving in a circular pattern, the clay is not yet centred. Continue the coning and centring process until this wobble is eliminated.
      8. Once the clay is centred, slow down the wheel and use a sponge to remove any excess water from the surface of the clay. Your clay is now ready to be opened and shaped into the desired form.

      Centering clay requires patience and practice. You are encouraged to your time with this process, as a well-centered piece of clay is foundational to successful wheel-throwing pottery.


  • Finish Opening and Begin Shaping

    • Once your clay is centred we can begin to open the clay wall up. After opening the clay and pulling the walls up, it’s time to switch to shaping the bowl. For this process, I always clean my hands. You have much more control with dry hands and dry tools. To start, apply the rib to the rim and start shaping that. Then return to the middle of the pot and refine the inside bowl shape. Finally, pay special attention to the transition point between the bowl and rim, and make sure the rim is well compressed. After the clay is centred and open we can begin to pull up the clay wall.

      1. Ensure the wheel is spinning at a slow, steady speed. Gently press your thumbs or fingers into the centre of the clay mound. Apply even, downward pressure. Then slowly push down into the clay, creating an opening. Keep your hands steady and synchronized. The depth of the opening depends on the piece you're making but leave enough clay at the bottom for strength. Gradually move your fingers outward to widen the opening, ensuring the walls of the clay remain even in thickness.
      2. Then you will need to shape the material into a clay body. Wet your hands and gently grip the clay at the base of the walls. As the wheel spins, slowly move your hands upward, elongating the walls. Keep even pressure and repeat this process several times to achieve the desired height and thickness. Use your fingers, a sponge, or pottery tools to shape the piece. For bowls, curve the walls outward; for vases or cylinders, you may want to keep the walls straight or taper them. Keep the rim of your piece even and smooth. You can use your fingers or a tool to shape and smooth the rim, giving it the desired thickness and finish.
      3. Throughout the process, ensure the clay stays moist but not too wet. Use a sponge to absorb excess water and regularly wet your hands to maintain smooth movement over the clay.
      4. Frequently pause to check the shape, symmetry, and thickness of your piece. Use your fingers or tools to make adjustments as needed.
      5. Once you're satisfied with the shape, use a wire tool to trim any excess clay from the base.

      Opening and shaping clay requires a combination of gentle pressure, steady hands, and patience. Each piece will be unique, and practice is key to mastering these techniques. You are encouraged to experiment with different shapes and sizes to develop your skills.



  • Finish Shaping and Clean Up

    • After getting the shape of the rim and inside of your pot just right, you’ll want to clean up the bottom of your bat with a wooden knife or rib. Then, I double-check that the rim is compressed, and I’ll remove the whole bat from the wheel. If I have time, I’ll let the pot dry for an hour or two, then cover it with plastic. 

      1. Use a rib tool or a sponge to smooth out any bumps or irregularities on the surface of your piece. Make any final adjustments to the shape of your pottery. This might involve refining curves, straightening sides, or altering the rim.
      2. If you wish, add textures or patterns using tools like stamps, carving tools, or even everyday objects that can make interesting imprints. With the wheel spinning slowly, use a trimming tool to create a foot on the bottom of your piece. This not only adds to the aesthetics but also ensures stability.
      3. Allow your piece to become leather-hard, which means it is still slightly damp but firm enough to hold its shape. This can take several hours to a day, depending on the thickness of the clay and the humidity. Carefully slice under the piece with a wire cutter to separate it from the wheel. Lift it gently and place it on a board to continue drying.
      4. Use a sponge and water to clean the wheel head, making sure to remove all clay residues. Clean and put away all tools. Wipe down surfaces and ensure the area is ready for the next use.
      5. If necessary, cover the piece with a plastic sheet to slow down the drying process. This helps to prevent cracking and warping. Allow the piece to dry completely. This can take several days and is crucial before the bisque firing process.

      Be patient patience and attention to detail are key during these finishing steps. The drying process is as important as the shaping process, as improper drying can lead to cracks or warping. 


  • Trimming

    • When your bowl is leather-hard, it’s ready to trim. I like to trim on the dry side of leather hard as you will get more crisp lines, and it’s easier to remove small amounts of clay and let the high speed of the wheel and many rotations do the work for you. Press gently throughout the trimming process to gauge the thickness of your wall. If there is any “flex,” you have trimmed enough in that area. Then, create a line that will be the inside of the foot. After that is set, I will start in the bottom centre of the pot and do several passes from the centre to the inside edge of the foot, removing a small amount of clay each time. While throwing, stop and press gently on the clay. If the wall has any “flex” or “give,” it is about 2-3 cm thick and where it needs to be. Doing this kind of testing can get you locked in on trimming your pot to an even thickness. After trimming, run a damp sponge over the pot to remove any trimming marks and clean things up. You can also use a soft, flexible rib for this process. At this stage, you could also choose to carve or decorate your bowl with a slip. On this design, the rim is a great area for that, but you could decorate any part of this form. After trimming, put the clay body on a board upside down and loosely cover it with plastic until they are bone dry. Then, it is ready to be bisque-fired.

      1. Ensure the piece is leather-hard, which means it's dry enough to hold its shape but still damp enough to be carved easily. Center the piece upside down on the wheel. Use small pieces of clay to secure it in place, ensuring it doesn't wobble.
      2. Select a sharp trimming tool for smooth, precise cuts.
      3. Gently press the tool into the clay at the desired width of the foot. With the wheel spinning, carve a groove to define the outer foot ring. Maintain steady pressure and speed. Decide the inner boundary of the foot and carve another groove.
      4. If the walls of your piece are too thick, gently trim them down. Work from the bottom up, keeping the tool steady.
      5. After trimming, use a metal or rubber rib to smooth the trimmed surfaces.
      6. If you wish, add decorative lines or textures to the foot or the base of the piece.
      7. Remove any excess clay from the foot and the bottom of the piece.
      8. Carefully cut away the small pieces of clay that were holding the piece in place. Gently lift the piece off the wheel and place it on a board to continue drying.
      9. Allow the piece to dry completely before bisque firing. This may take several days, depending on the thickness and the environment.

      Trimming requires a delicate touch and a good eye for symmetry and proportion. You are encouraged to trim conservatively at first, as you can always remove more clay but can't add it back once it's been trimmed away. 



  • Glazing

    • After bisque firing, it’s time to glaze your pot. Start by cleaning the bisque with a damp sponge to remove any dust, but don’t saturate the ware with water! If needed, you can also clean up any bumps or flaws by sanding. Just be sure to remove any sanding dust before glazing. Then, you can dip, pour, spray, or brush glaze onto your pot. If I had a large enough bucket for the glaze. While grabbing onto the foot, I rotate the pot and pour glaze evenly over the surface. After glazing the piece, clean up any drips or flaws and let it air dry. Then it is ready to be glaze-fired. Cover your work surface with newspapers or plastic to protect it from glaze spills.

      1. Ensure that the pottery is completely clean and dry. Remove any dust or residue. Sand bumps or imperfections off the surface. Start with an unglazed, hard ceramic object. A ceramic shop or artist might direct you to suitable objects they sell. Typically, these objects have gone through a "bisque" firing process to make it hard. Wipe the ceramic with a damp sponge before you begin and whenever it gets dirty. Let it dry. Apply wax to the base of your object, and wherever two removable parts meet. If you are mixing your glazes, follow instructions and safety procedures carefully.
      2. There are various colours and types of glazes available, from transparent to coloured and metallic finishes you can choose from. Select them according to the style you need. Then, thoroughly mix the glaze according to the manufacturer's instructions. If you're using glaze powder, make sure it's mixed with the correct amount of water to form a consistent liquid. Stir each glaze thoroughly. Pour each glaze into a small dish with its brush. Apply the under-glaze with your brushes. Scrape off undesired glaze with a metal object. Glaze the inside of hollow containers with narrow openings. Let each layer of glaze dry before applying the next. Finish the underglaze process by applying an overglaze. Wipe off the glaze from surfaces that will stick to the kiln. You can either dip your pottery into the glaze or apply it with a brush. Apply an even coat, ensuring there are no drips or thick spots. Leave the bottom of the pottery piece unglazed to prevent it from sticking to the kiln during firing.
      3. Before firing, allow the glaze to dry thoroughly. This can take several hours. 
      4. Place your glazed pottery in the kiln for the final firing. Follow the specific firing schedule suitable for the type of clay and glaze used. Fire the glaze according to instructions. 

      Glazing requires a careful approach to ensure an even and smooth finish. You are advised your students to experiment with different glazing techniques and to be mindful of the glaze thickness, as this can greatly affect the final appearance of your pottery.