Throwing a Jug

A pad of clay is thrown onto the wheelhead and concentric circles are run in with my finger, bisected by radial grooves. This provides a sticky surface onto which to stick the 'bat'. The bat is a disc of board that can be removed with the completed pot attached, enabling the pot to be taken off the wheel without distortion.

The wheel is turned and the ball of clay is patted to remove the irregularities.

The spinning lump of clay is centred.

The centred lump of clay is opened to form the base of the pot.

Clay from the base of the pot's walls is lifted and thinned using the knuckle.

A tall vessel is created, the clay in the walls evenly distributed.

Shaping the pot may now begin, with gentle pressure between the finger tips of one hand on the inside, and the other on the outside governing the profile of the pot.

Throwing complete, a wire is run under the base of the pot.

A pouring spout is shaped on the rim, then the bat is unstuck from the clay pad on the wheelhead, the clay pad on the wheelhead ready to receive the next bat. The pot must now be left to toughen a little before the handle may be applied.

 

Handles

My handles are made by the traditional method of 'pulling' or 'bowing'. Clay is teased into shape by a pulling motion of the hand.

The adhesion point of the pot is prepared. Crosshatching the surface and the addition of clay slurry strengthens the join.

The handle is applied to the pot

A little more pulling once joined ensures that the handle has a lively spring to it.

The bottom of the handle is smeared into the pot's surface with swift movements of the thumb.

 

'Sprigging' The Pot

	Small pellets of clay are attached to the surface of the pot with a dab of slip.
	A seal with an incised design made of fired clay is pressed into the pellet of clay to leave an imprint.

 

Slipping

	The pot is held by the base over a bucket and white slip(a suspension of clay in water) is poured over the surface.
	The pot is left on the shelf to toughen ready for glazing

 

Glazing

	Glaze is poured inside the pot and swished around to cover its entire interior. Although slightly pink in appearance, the glaze will be clear with a pale yellow tint after firing.
	The excess glaze is poured back into the bucket and the pot left to toughen ready for its outside glaze.
	Once the pot has dried sufficiently the outside glaze is applied with a brush.
	Coloured glaze is added to the sprigged areas. When fired the light grey will turn green.
	The jug, fully glazed, is left to dry out thoroughly ready for firing

	The completely dry, glazed pot is placed on the top shelf of the kiln and fired for twenty four hours. Go to the Kiln page to see the firing process.
	The fired pot in the kiln

Pots Prekiln