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Thanks for your question. Without knowing the exact timespot, my guess is that I "collared in" the piece. This made the cylinder a bit narrower, raising the height of the piece. When making taller pieces like this, I usually expect to lose some height when I start making the pieces wider. If you are struggling with keeping things even, you can always pause and let the clay dry a bit. Some people use a propane torch to dry the clay. With practice, you will find a method that works for you. If the clay is getting wobbly or off center, try to let it teach you and figure out how to approach it the next time. You'll get there!

Thanks Matt! I think I've seen the torch on some videos, I'll record myself and see whats going on@@merkelhess

these are perfectly flat, this is magic to me

Thanks for your questions and my apologies for the delay in responding. For plates, I always make them on an absorbent bat. In this video (and my studio) I use the "Hydrobats," which are made with hydrocal, which is a dense plaster. This allows for even drying on the top and bottom. Another method you could try is getting the plates onto a wire shelf, so that they have airflow all around and dry evenly. The key to keeping things flat is to have everything dry evenly. I personally don't sponge or add water to pieces in the drying process. Instead, I use the hydrobats or wire shelves along with covering pieces with plastic, to slow the drying process and keep things even. Good luck!

This bowl was on the dry side of leather hard, almost bone dry. It did rehydrate a bit from adding the 3 layers of underglaze.

Thanks for your question. In this video, I am using a large, metal rib that I made myself. The red rib is a very flexible Mudtools rib. A few years ago, I posted a tutorial on making your own metal ribs here: www.thestudiomanager.com/posts/make-your-own-metal-pottery-rib

I have never weighed it, but I would imagine it is around 1 to 2 lbs of clay at the beginning.

I typically start with a slab that is about 1/2 inch thick or maybe 7/16" thick. The slab is thinned a bit when it's on the wheel. Usually, my goal is to end up with walls around 3/8" thick in the greenware stage for all my pottery, but there can be some variation with this and you will find your own way if you make pottery from slabs!

Sorry for the delayed response. Porcelain is definitely trickier, but try it with a thicker slab, or be careful to not thin the rim and get it too wet. When the plate is leather hard, you can always trim it thinner as well

Hi, thanks for your question. The large wooden boards in this video are actually a plywood, specifically wood-veneer laminate over pressboard material. I believe they were once very deep bookshelves? I found them on the street here in NYC and repurposed them in the studio. I also have a variety of birch plywood wareboards. For these plates, most of the drying occurs on the hydrocal Hydrobats, as I find that helps keep the drying even.

Just need a bigger bat

Ha! It could be

Hi, thanks for your question. I used a 14 inch Hydrobat. In practice, the bat might be 13.5 inches wide. I cut the clay slab to around 12.5 or 13 inches before bringing up the wall.

Thanks! I think of these videos as an extension of my in-person teaching, so I always hope viewers will take what I share and find their own direction. And these wide bowls are great for serving!

It's not so much a blooper as something where I was more focused on taking the video and forgot the step of painting wax resist on the design. Tried to clean it all but still had a bit of glaze in places I didn't want it to be. I am going to try one re-fire with another glaze and see if I can fix this one, but otherwise it will be a nice pot to use at home. In regards to the wobble, yes, often my pots have a bit of a wobble. Especially when they are bigger. Often, this is easier to see when the piece is spinning on a wheel but as long as it sits evenly when it is done and doesn't detract from the experience of using it, I am ok with it. I always strive for "perfection" but celebrate the hand made as well.

In this video, I am using a mid-range red stoneware

Yes, I would use clays with similar shrinkage and firing temperatures. Porcelain clays with dark stoneware’s give the most contrast.

Thanks, I’ll check out your channel!

Thanks! I’ll post a photo in the community tab when I get it fired.

Thanks!

All good points! In this video, I fluted right after throwing so the possibility of bellying out is there, but you would have to watch the thickness so as not to open holes. Many people like to do the fluting or carving in the leatherhard stage, so that would preclude changing the shape. As for up or downstrokes, I generally just cut down as that is comfortable for me. I don’t think it’s dragging the bands of darker clay, instead the fluting is exposing different thickness of clay and you see how the band varies within that thickness. But no matter what you do, it’s usually an interesting result!

I'll post a photo in the community tab when I get it glaze fired. Thanks!

That could be interesting too! It would be hard to do the fluting on a curved surface, but you can definitely do agateware with any form. Might be interesting to alter the piece after fluting as well.

That’s great to hear

Go for it!

Oh sorry, yeah it’s a wheel throwing demonstration video so maybe I should rename it “making and decorating…” Thanks for watching.

I’m sure they’ll turn out great! I find it helpful to dry plates slowly.

Gotta go big sometimes

Definitely! The big reveal…

That’s a great idea! I do have some pigmented porcelain sitting around the studio….

Thanks!

Everyone starts out messy and using a lot of water. Don’t worry about it. But as you gain experience, you’ll find you throw with more precision and mostly likely cleaner. I do love cleaning my hands before switching to ribs but everyone finds their own way of throwing.

Yes, I almost always bisque fire before glazing. I’m curious about single firing work, but I’d have to test and make sure my glazes would work with that.

I haven’t fired these yet, they are still drying… In the past I have had good luck with adding clay to an already wedged ball of clay, as shown in this video. Moisture levels and shrinkage rates of clay could affect how it stays together. But with this method, it is more of a layer of dark clay over the white clay, so it should work. And when in doubt, always dry things very slowly.

Thanks! It just takes practice.

@@merkelhess Having TWO buckets - one for clean water, and one for getting rid of slip, slurry and excess clay is a great idea. I'm just learning to throw now, and when using one water bucket, it becomes very messy, very quickly!

I’m not sure when I started using two buckets, but it is great for organization and making clean up and reclaiming easier.

😂😂

Thank you! Glad you like them.

Yes, I am using a large metal rib. I do make my own ribs, and have provided a link in the video description to a tutorial on that. This rib is curved on all sides and was given to me around 15 years ago by a friend, and appears to be zinc-plated stainless steel. For my ribs, I use 24 or 28 gauge stainless steel, which can be found in 12 inch square sheets at hardware stores. Draw your shape with a marker, cut with metal snips, and then sand edges to smooth. That said, there are lots of ribs on the market and I do use a variety of those as well! But for lowering the walls of a bowl, I like big metal or plastic ribs.

Thank you for this detailed comment and video suggestion. As I tell my students, there are always multiple ways to make a vessel on the wheel! Happy potting.