Enclosed Bottle Form

Wheel-Thrown Pottery II, Intermediate Skill Builders Bottles, Chucks, and Closed Forms with Cut lids
9 minutes
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Transcript

So the next ball shape that I'd like to talk about is more of a rounded form. And what I think we're going to do is just take this nice rounded form and totally enclose it. So it can start to talk about lids, but it's also gonna talk about the technique of the round form. You can imagine during the forming process, we could easily leave it open and it could, you know, we'll talk about that in a second or you can totally take it in for the technique I'm going to show you but why I want to talk about this particular shape is because there are some additional steps you may need to consider when forming this. Because we are going to be rounding it out so much, you may need to leave your walls slightly thicker to compensate for that. But also I want a smaller bottom on this.

But because we're going with such a round form, I can't necessarily throw it with that small of a bottom because it's good I don't want to slump and collapse on me. So just like when we talked about those flared out bowls, leaving that extra clay out here, that will turn them off later. Same idea, same concept here, I'm going to leave some extra clay out here to support those walls. But then when we come back to trim it, we can remove all that excess clay and finish our shape. So let's go ahead and put some of these into practice right here. Again, everything starts off with that basic cylinder shape.

So first pull, maybe put two poles is coming from a straight up and then I'm going to start shaping the belly. And then I'll come back in and start working with the ribs a little bit. We'll talk about ribs more. Okay, first pool, basically straight up, establishing that cone or volcano shape. If we want a bottle shape or an enclosed shape. Again, always keep this top in as tight as you can throughout the entire shaping process, the less you have to try to work that back in later, the better because that's where the rim can really start to become knocked off center.

Things can start to get a little bit distorted if you really have to color that in great distance. My name is start to establish a little bit of the shape right now. Taking that clay in keeping this top as tight as we can. I'm going to do one more pool and then we'll come back in and start talking about our ribs and some of our other schools. I'm leaving this extra clay on the bottom. That will trim off later that'll lighten up and really start to finish our shape.

Round forms are tricky and will definitely take a lot of practice they are so tricky because you have both this lower shoulder and this higher shoulder and anytime that clay starts to come in the top That is, the more they like to blump and collapse on you. Now let's say we're forming our piece here and you realize that you forgot to remove the water from the inside. There are a number of tools that look similar to this, we have two commercial ones a sponge on a stick here and this is another spot on stick where you can make your own simply with a rubber band and cutting up a little bit of a sponge. You can use these to remove the moisture from the inside very similar to our throwing sick tissues as an extension of your hands and that can be used to remove that moisture.

So these can be very handy tools to now that we're talking about taller forms and bottles and these type of shapes. But I'd like to talk about ribs for a minute. So I'm gonna go ahead and open this back up. And at first I may go in with the inside and start to fine tune the shape with a wooden rib on the inside. And then I'll come back with a metal rib on the outside and really clean it up. See I'm compressing from the inside out.

With our wooden rib you see right there was making contact with it. And I want to clean up this outside with our metal. Again, supporting the inside. Now I'm going to continue to color this top and we're just gonna go for a nice tight top in here. Now often with these shapes, you're going to need to leave yourself more clay than what you might think because it actually eats up a lot of clay right in here with these shoulders, which is going to cause you to lose some height during your vessel. Just keep taking it in.

Man. If you can use the throwing Tickets was too tight to get your hand in there. I'm pulling it in and then I'm continued to throw it and tighten it up. And right here we're getting in and up. You see this is starting to look like a pretty interesting shape here by itself if I was to fine tune the lip right here and it was just a nice tight decorative bottle. Storage wise it wouldn't work that well.

So might be something good to rack. Ooh, nice storage. I'm just gonna keep going taking this in. I'm going to take this top end all the way. And I'll show you a little trick right here. Okay, now we've totally taken that in, so we have a nice pocket of air in there.

Now that we have this pocket of air, I can use that air to my advantage as if it was my inside hand. Now you do have to limit the amount of stress or pressure you're going to put on this outside. Because if you lean into it too much that pocket of air we'll find the weak spot and oh calls the little balls at one area but you can Use it somewhat to really come in here and start cleaning up some of these areas new fine tuning your shape. Come in here, finish up our handle. And then when we come back in here to trim this, we can cut our lid off, we can really start to create some interesting lids here because it doesn't necessarily have to be around lid because we're going to be reforming the lift for the most part, for lack of a better description think of like a jack o' lantern how we were going to cut it similar to that.

So we can be a little more organic with our shape or we can introduce some geometric shapes. Which a nice square geometric shape could be interesting because everything we're working with is so round and cylinder for the most part. The first we need to finish fine tuning our shape. Okay, we're looking pretty good. Remove the excess clay from our bottom. Begin there is a bit of extra clay down here at the bottom.

And that's just necessary to support those walls especially if your clays a little bit soft or if you're having trouble to wanting to slump on you. Don't be afraid to leave magically there we can trim it off once the piece sets up a little bit. Now we are pretty well cleaned up here as tide handled, but before we take this off the wheel head, there's one more very important step that you need to do. And that is to poke a hole through so that the air inside the piece can escape. Because we know that this clay is going to continue to shrink and we've talked about the we can't fire completely in closed pieces. Well what's gonna happen here Even as this piece sets up and towards that level hard states so that we can trim it, that clays continue to shrink and constrict, and at this air on the inside can't escape, it's going to cause stress cracks on the inside of the piece.

And often you may not even see him until you take this piece and you fire to the glaze fire and then all of a sudden you have a strange crack going down the center piece. Well that crack was initiated it began at this date because that air cannot escape. Now I know I'm going to be putting my lid somewhere in here. So I'm going to poke my hole in that general area. This hole, you can easily patch this later. Once it stiffens up a little bit, we can rub a little bit of clay in there so it doesn't it's not super critical where you put it but generally I try to put it someplace where I know it'll be easily disguised later.

So I'm simply going to take my pen tool and poke a little hole doesn't need much, just big enough for that air to escape. And now I'll set this off to the side. Let us set up to lead the heart We can complete trimming the bottom and cut our lid out of the top. We'll have a nice little jar here.

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