Flameware with Shawn Felts

[Music] I am going to talk a little bit about live flame or what makes it different how did I come up with the recipe I came up with we now sell it here at Clay Planet a variation of a recipe that I got that somebody else got that just gets tweaked as it goes welcome everybody by the way how's everyone doing everybody let's just a quick show of hands has anybody used actual flame we're clay before something that is designed to be open flame on a stovetop yeah even you know nah Bay's don't ah bass things from Japan Korea China other places awesome all right what's that New Mexico excellent so the clay we designed here and some other people United States have done in other parts the world is make it as non-porous as humanly possible you're trying to come up with a clay that has extremely low expansion it can handle the open flame and it's extremely non-porous a lot of parts the world Mexico and other places they make things like called casa Leila's and they're basically designed to handle they're very very thick and they're designed to handle constant kind of low flames to keep things warm tends to be they're cooked elsewhere they're stored in these and they're kept warm or low flame they are incredibly porous and incredibly strong believe it or not for a lower fired clay the more other story is it's very different the most common questions I get and we'll have a time for a little Q&A and I've got a lot of them printed out here like just frequently asked questions is what's the difference so I have people who regularly say oh I'd like to buy that flame were to make a pie plate and I my 90% of the time your question is why it's not oven where any clay can technically be used for baking including porcelain you just the less sand the less grog the less ability to handle thermal shock the higher percentage it's going to break so you have to be very very detail-oriented and make everything very even thickness and get it just right the porcelain where you can be a little bit more haphazard the more groggy the clay gets so we sell clays here at clay planet Bravo buff oh Ryan stout sculpture aku Laguna makes really nice ones called big white sold 860 sold 830 anything that contains a fair amount of grog is what I would recommend for any sort of bakeware now that's kind of a fine line because the groggy RIT is the less tactile you know you want something that's smooth and nice to feel the clean so I like Bravo buff or at least a clay we use here so it's definitely worth trying flame where the whole point of this I'm going to talk about a lot of things fly more but there's certain times when to use flame or in certain times not it's like 34 bucks a bag here for a reason it's expensive and the raw materials that go into it are also expensive so by that yes ma'am - what temperature the clay flame will we make here we always want to fire two cone ten so I have used flame where from other companies other places it's okay there are some mid fire cone six cone seven flame wars out there that tend to let's put it this way it's a very odd saying but the better it throws in my opinion the less likely it is to be able to hold that extremely good flame over time so this is a great in-between it's not the easiest of all clays to throw them it's definitely not difficult so it tends to get a little soggy over time it tends to be a little bit interesting to throw with and if anyone ever picks them up you'll see why I've used clays from other companies and I remember throwing something that was just beautifully easy to throw and I thought to myself like there's no way this is gonna work so and I've used multiple types see how the pottery supply makes a good one there's actually a piece on the far wall over here I'll show you all at some point that is from Seattle pottery supply this is a recipe most of my clay came from a woman named Robbie LaBelle she got her info from somebody else named Braun Propst there's a lot of different people who have worked their way through flame work - they got to a point where it's working very well so a lot of those people on the East Coast some ingredients you can get but it's expensive so I altered the formula a couple ingredients couldn't be found anymore and I wanted it to be a little bit easier for some East closed raw materials so this is my favorite shape to make just a standard what I call a casserole like is that if you're only planning on baking with it this is something you can make out of pretty much any sort of stoneware I like this clay and I like the flamer cuz like to sear things in it directly on the open stovetop then add lick wherever and put it right into the oven today I'm gonna make you guys just a little veggies are always the safe way to go with a group of this people so just a simple little veggie dish with a veggie stock in a spicy vinegar on top at some point closer to the end I'll throw it on it'll take five to ten minutes at the most it'll let you all see it completely boiling bubbling this thing to come to a boil you put the lid on and put it on the table and five minutes later take the lid off it will still be boiling so it is really designed to hold heat extremely well we are going to talk about this style of handle which are my favorite for any sort of functional dish you guys can see if I'm lifting this piece upward the way the handle is designed you would have to pull the handle this way to kind of weaken it and it's not the way the handles designed to be lifted so I also make a lot of frying pans at some point on the divide everyone to come up and pick these up they're heavy and they are heavy for a reason thin pieces tend to be more prone to cracking there's just not enough ceramic mass to help with a thermal shock so you don't want them so heavy that you fill this with something and you can't flip a pancake which this is bordering on but you also don't want them so thin I've made them a little on the thinner side before to test and those are the ones that no longer exist so when you try this out on your own I would definitely recommend leaving it there and actually actually I think that's the hardest part we're also trained to try to throw as tall and thin and even as thin as possible so leaving them thick is difficult so if you guys come to pick these things up you'll see they're a little bit on the beefy side I do and I actually have a couple under plastic here so I purposely ninety minute demonstrations for flame were difficult so I'm gonna throw its kind of be like a cooking show I'm gonna throw you a bunch of stuff say Oh surprise surprise what's sitting here in the oven are the pieces I threw on Thursday that I try to just get to the nice so I'll show you all how to trim how to add a knob for the lid that's gonna go with this guy there are some specific rules about the feet you'll find there's never any foot rinks or anything else and I reckon an all bake we're always just slightly rounded smooth so this piece actually has a very very slow subtle curve before it flattens out that's for the open flame it's also if you put it in your oven on a rack a little foot ring is something that could tilt or drip a little bit easier so the simpler the piece the better this could go for all eternity so I'll give you all this the very quick how we test these pieces this specific piece was made fired up to cone ten when it came out of the kiln we filled it with water and we put it in the freezer so for three days it's solid block of ice formed we took it out and put it on that exact burner and we melted the ice until it completely boiled we allowed it to keep firing until all the water boiled away and evaporated and we let it go for five more minutes so you could almost see red meaning this piece was getting hot enough we took with tongs and who dunked it in water we refill it water we did it again so if it'll go through that process once I certainly don't think any of your cooking at home is gonna be to that extreme Baked Alaska frozen flambe to whatever it is but the goal is to put it through such tests that no one would ever get to that point you'll break it by dropping it or bumping it into something before it'll Blake break from a flame so these pieces have been put through quite a few tests these are ones I've brought from home I use them regularly so so for ceramic purposes kind of like cast iron you could it takes a little bit longer for it to actually hold the heat so the question of getting here was do start it on a low flame then slowly lift it up you can there's no reason to for like the safety of the piece you'll see I'm gonna keep talking about that somehow it's gonna break on this time but you'll see a little it'll handle just about anything this is gonna be bigger than any flame you'll ever have in your kitchen or home it does work on electric burn top stove tops as well I like the gas flame because I think it's a little more even heating you can kind of adjust it based on where the flames coming from I'm just gonna hit oh I'm sorry Anita what's up that's correct I don't glaze my flame where 99% of time flame work can handle anything glazes usually can't now there are a couple of glazes that we formulated here to fit a couple these flame we're bodies and they do work well there are some recipes out there you can't just take this home and throw rutile on it and hope for the best what's gonna happen is within a few weeks it's gonna start to craze and crackle those little micro cracks are more prone to harboring bacteria they're not gonna clean out as well and I've actually heard of people who six months for now they're fine are getting ping-ping-ping little pieces of glaze actually go flying off especially if you fire these in reduction the clay itself has no problem but carving can get trapped kind of with the glaze that's firing and create a little barrier between the two for ease of use I treat mine like cast-iron I'll literally I'll cook with them when I clean them I'll heat them up really well I'll put some salt I'll scrub them I usually don't put them in the dishwasher I don't put them with soap I heat them up to burn off any of the impurities and over time they will become extremely nonstick just like cast-iron can so there's actually something else I'll send you all of those who signed up it's called the eleven rules of cast-iron I send that out as the eleven rules of flame we're now three of those rules are about not letting it rust we don't have to worry about those my favorite reason for these is you can make anything you want I have a little single one egg pan at home that's the most adorable thing you've ever seen that's this big around it's great I've made larger tan Gia's and tagines there's no limit if you can make it sometimes you go home and you're like man I'm always making this specific dish I wish had something you just go make yourself one I'm gonna spend just a couple minutes hitting a few things in here that I don't want to skip but once again anyone who wants this will get it basically what's in here is everybody else's flame we're kind of history who started it what recipe are using why they change this kind of all of this mine would be the next section of this is where I started by reading all these things it's so funny is it's somewhat of a popular thing there's really like three or four people I mean I know there's more now but that like we're kind of the behind the history of flame we're so there's a guy Ron Probst he kind of started it all he wanted specifically same thing he was selling cookware to friends they call him back a month later and say hey it broke so he started messing with different formulas it's got the same things in it as standard clay the big three things that are additions you're always gonna see in almost every formula is spa jammu which doesn't go into most clay bodies what usually goes into glazes petal light and something called pi Rafa light also known as Pyrex or Pyrex it's literally what they use in their Pyrex glass cookware and bakeware it has a really amazing ability to withstand thermal shock although if you look at it under microscope it's tiny tiny little needles so many many years are doing ceramics my hands tend to be a little bit bulletproof to these things I have taught these workshops before and people like my hand sir and you look really close and there's like micro little almost looks like little pieces of sand or grog it's used about one out of 25 and we have to take a piece of tape and put it on handle I pull out these little tiny things some fair warning when you go to throw this for the first time start out small I always recommend when using a new clay start small work away up make yourself a shot glass for those super flamin hot shots you want whatever it is work your way up from there so he talks about all sorts of things in here once again you'll see it he goes into talking about why he got rid of one of the recipes and moved on to another and basically there's his original recipes here there's glazes that match his original recipes and basically it's a lot of important information where I started off really starting to my test is a woman named Robbie LaBelle she's still around today she makes flame where she makes her clay specifically to be rammed pressed so it can be pushed extremely firm compress all the particles with very little water to be added some of the shapes you see here have to be a certain way just like when you buy plates at like a target those are not ever hand thrown they're gonna be thinner they're gonna be laid down to an edge differently than if we had to throw our place the specific recipe I'm going to talk a little bit about today which is the basis of some of these things is here on this page once again you'll get this but there's a couple important things this recipe called for something called G 200 feldspar which no longer exists which is why we had to sub it out to try something else it also called for a specific size grog that is not available on the west coast only the east and it calls for a couple of things that are really East Coast clay bodies there's a fire clay called Missouri Hawthorne bond it's a little pricey or harder to get from the East Coast what you'll find everyone has kind of worked their way through they said as long as we've got the big three which is usually petal light pie Rafa light and spa Djimon the ball clay the fire clay the grog size some of these things can be intertwined and you should still be okay it might affect the plasticity of how well it throws it might affect the color of how it fires but those are kind of the big things so by the I have so I've done probably 30 or 40 different recipes at this point and the one I've stuck with is a substitute or variation of one of the ones that's in this pamphlet once again we now make this at clay planet it's a completely different recipe so they wanted something a little bit easier to bring in clays on the west coast a little bit easier to make without it being super expensive per bag a little easier to put through a giant machine that makes 2000 pounds of clay at a time all those things have to be thought of when they do it it throws better than mine so they went for more user ability but I've done some crazy tests on it and it works extremely well so if you ever were to pick up flame work from us at clay planet if everyone doesn't know I also work here actually plant it so occasional throw out some things just because not I like it better or worse than others but I'm around at the most so I'm gonna go a couple of frequently asked questions I'm gonna jump on the wheel cause if not I'll talk this whole thing will never get to anything so um can I use my current clay body for flame where 99.9 percent of time the answer is no some people have used terracotta in the past even our cinnamon clay I've known people to buy terracotta planters and baked bread and stuff with it there's some heat it can handle but it cannot handle the open flame of the size of it that we're gonna use what glaze can be used once again if you use something with a high amount of spider-man or iron it usually will work for some amount of time but we do make two specific glaze formulas here that are specific to fit this clay body glaze is really only there for two reasons one it's pretty and two it makes it a little bit easier to clean they have that kind of a glassy nonstick surface versus trying to scrub the bottom of your flame or pot I'd recommend skip the glaze to begin with work your way up to that and try it out why do you use it I use it before it's durability I use it because I can make the pieces to anything I want I have cookie sheets at home I've made I've made pizza stones anything you can think of like I always make this sort of thing I wish there was a pot that this size you can make whatever you'd like I like to make my casserole wider and shallow because I'm usually searing in them the more space you have the more you can see here before it goes into the oven why does it work it works because of the raw materials inside of it once again spod men pet a light pair off light those are kind of the big three that help it for its flame retention and it's thermal shock abilities can you use in the microwave yes high iron clays I usually recommend people testing and a couple second increments we sell some clays here that contain manganese contain higher amounts of iron and I have been told by others they can zap out your microwave usually the clay body is okay it tends to be more like a heavy iron saturate tomato red berry rust some of those glazes can be problematic because there's a lot of metal in them and metal doesn't work in microwave so I'm gonna say the answer is yes question mark up to you to decide how do I clean as a dish or save technically it's dishwasher safe it's gonna be the most non porous clay you've ever used it's can be less than 1% in terms of how much water will absorb in you do not want a clay that's gonna fill with water and then you heat it up to a very high temperature your piece is not going to survive well I recommend not using it in the dishwasher though just for soap and scouring things once again kind of like cast-iron I wouldn't make fish in it and then give it a quick clean and maybe do brownies next I might put a little more effort into it than that you don't have to heat the pot in the of you don't have to preheat you could take this little you can marinate chicken in it overnight and just throw it in the stove there's a lot of good things about it it's tend to be really for ease of use can I hand build with it this is the question I get the most the answer is yes if you are skilled at hand building I've been doing this a very long time I am NOT skilled at hand building I am a poor hand though I'm also a little a DD and I like to just get things done quickly and after many years on the wheel that tends to be the best for me another employee here Sean makes beautiful we sell the GR pottery forms here any sort of plate push plate style the reason people I've had issues in the past with hand building is it's a little bit more difficult in my opinion to get an exact even thickness if you're gonna use a form you're gonna push into it a very heavy flame will find any imperfections in your piece and if it's a quarter of an inch thick or half an inch thick everywhere and very thin around the edges it's going to break there so you definitely can if you take the time and make it right and make it a little bit thicker I will leave that up to you I've seen beautiful pieces that were hand-built I don't have the skills to do so so I don't how do you trim how is it different than normal pottery I'm gonna demonstrate about that we talked about a little bit rounded bottoms no foot rings keeping it thick all that sort of stuff then you have anybody have any questions based on just what we've talked about so far Anita I know it is different so my cases clays a type of clay dug out of the ground and it's actually why a lot of clays in other parts of the world can be used for flames where ours cannot in New Mexico and other parts of the world they can dig a clay right out of the ground that contains mica or they're adding my Cassius Clay to it and it can help with thermal shock it's not a grog it's it's a material that's just known for its flameproof properties same idea tends to be something low fire imagine like a terra cotta or a low fire red clay that contains iron they're adding the my Cassius Clay to or it's there naturally it can handle a flame it can handle the heat it probably wouldn't be able to handle the torture that we're gonna put it through here so there are some benefits of this and there are some negatives we have to mass-produce this I can't just go to the yard and dig it out and make something certain parts the world they can based on just what's in their soil what's in their clay so I'm gonna wedge up a piece of clay I'm gonna meet at the wheel I'm going to start with about six pounds of clay to make something around this size this is a three pound piece if you were making it normally a bowl or whatever else I'm going to start about six because I'm going to trim a decent mount off the bottom and I want to leave it thick we're gonna go over my very odd four-step process of how to do this little lid flanges to get things to fit nice and mom so I'm actually gonna throw the pieces you see here and then through magic I'm gonna grab these ones and I'm gonna trim them and attach them they were a little dry this morning one of them may have had a crack in it lettuce for demonstration purposes it also tends to mend well this clay body for some reason it tends to have a nice something about it you can come in as smooth that get rid of these things and then let it dry slowly and it'll kind of fix itself which is nice so I'm gonna meet everyone here at the wheel I'm gonna grab some clay we're all gonna beat and I weighed it out perfectly and I spent a lot of time wedging it both of those things are probably important I'm just gonna grab a big chunk and head that way I'm gonna do quite a bit of compressing on this so I think they'll be alright I'm kind of a do as I say not as I do guys and if I were sitting at home making this I would definitely have wedged it and got it prepared I'm the case you're gonna move this bucket in and out of the way just smallest one I could find so I can see what I'm doing I don't usually throw with a water bucket off out of the way onto the ground just to warn yourself Lulla we're gonna go Reverso today just to give myself a challenge so I love throwing on bats when throwing bigger pieces especially during demo there would be no way to take a big casserole off and then move to the next face so in general I actually thrown bats I like the way it feels unless I'm throwing something small so some people despise them I don't like the wobble wobble wobble there are some ways you can tweak that by putting some firmer clay in where the bat pins are putting a bat grip or something underneath I'm gonna show you all away at least in my opinion that shouldn't bring in the wobbles of the bat so there's gonna be very little a lot of pressure from one side I'm gonna really cone it up and cone it down to try to get the piece centered without having to put a lot of uneven pressure that uneven pressure is what makes this thing go red a tat tat tat add refine as you're throwing so we're gonna just guesstimate that that's about six pounds and we're gonna do a little quick wedge here so this is fresh clay right out of the bag it is pug it is de-aired it should be ready to go but something a lot of people don't realize no matter where you get your clay pugs out of a giant machine and it pugs in a spiral if you've ever tried this you could open up a bag of clay take a thin slice and if you bend it occasion you will see that spiral this is why I recommend always wedging your clay no matter what now if you cut a small square on you pack it together you're gonna throw it or Center it or put a lot of compression into it it should be okay but I've had people many many years talk about why did it crack here why did it crack there this is realigning the particles if you cut it at an angle cut it down the side of the bag and use it it would actually probably be okay so if you're gonna throw it you're probably gonna compress it enough it'll be fine but I always give everything at least a quick wedge so maybe six pounds I'm gonna spend a lot of time making sure it's stuck down I'm gonna cone it up cone it down and we'll go from there I'd be remiss if I didn't talk about this little sponge when I was in Japan recently vacuum sealed and a little thing in the showers was this for scrubbing your body like a little loofah I didn't use this one but I grabbed three or four before I left there used to be a sponge called the sugar loaf back in the day you could get for throwing pottery it absorbs water amazingly well it doesn't leave texture so there's some other Potter's out there that use couch fibers and that a sponge the sponge it doesn't really matter but I really love this thing so like I said I have two you'll see me just reach for whatever and it's fine but you know these little things that we work with they're great until we can't find them so be flexible but if you've got some specialty tools feel free to pop them out for this one all right so I'm gonna start and I'm gonna go through this as if no one's ever thrown powder before so you might be a little bored with some of the techniques but step one your wheel should always be touching your stool you should be as close forward as humanly possible if I'm trying to wedge six pound of clays like this I just have no muscle I mean I have no muscles anyways but I have no like weight by it your back you'd be doing a lot of the work here so I'm going to start with the bottom part of both hands and I'm gonna really squeeze down to make sure this is stuck and then I'm going to work my way up make sure it's stuck I say sure yeah [Music] so I tend to throw fairly aggressively and I tend to throw pretty wet I find myself saying to myself use less water but I can't too many years I use a lot I get away with it for the most part because I also throw fairly quick I'm a big grip it and rip it pull it up type of guy I've pulled bats off plenty of time so just so you know there's gonna be some techniques that I do they might not work well for you so if you're fine with throwing the way you throw stick with it so I'm gonna cone up and down once or twice once again trying to make sure everything stuck and what I'm doing is just squeezing and working my way up start down to the bottom again I'm gonna squeeze and work my way up till I mean this thing's pretty centered right I haven't had to go in how I taught ceramics for many years is you push with your left hand as hard as you can and you're coming at the right hand push down when you're throwing out of bat if it's not a hundred percent brand new you're gonna run into some issues so that's why I like this technique you cone up you come down I use a decent mount of water but I also love the reclaimed slip and putting it back on the pot it'll help it be slippy without new water absorbing in this tends to just sit on the surface so there's a weird trick I'm gonna bend this at an angle teenagers I'm gonna bend it forward an angle then push it back down it'll actually help it travel right back into itself I just push down from above it doesn't work as well so I'm a lean forward I'm gonna start my hand on the top my right hand slightly underneath and my arms are really locked in little t-rex arms that can't go anywhere and then the key here is just to let go slowly so pretty close already a little bit of a wobble that's something that we can now take care of by just working our way this is what I consider the normal technique left hand forward right hand down the right hand is doing quite a bit more work here and just a reminder you can't keep your left hand pushing it so firm or it'll never spread out you got to let your right hand take over here whether you're left-handed or right-handed I I'm gonna stick the same thing here because I'm using both hands one time one way one time the other but I'm using them equally so I'm gonna use my right hand and I use it curved around the edge a lot I want this to be a little taper it'll help it slide out more so we'll lightly push down and then I'm gonna slowly let go once again the goal here is to try to get a big centered mound of clay this is where you need to start thinking about what kind of pot do I want to make and how do I throw I use my right hand very aggressively on a couple of poles so even if I start out very wide it's gonna end up being a little bit more narrow because I pull so firmly with my right hand I like these usually kind of narrow and rounded casserole style I might make this one a little bit more vertical because I have a lot of these already so it really depends none of the ones I own right now because I've sold quite a few and given away cutter if you don't have a giant one we know if you had a bunch of people over for chili night or something so so I'm just gonna keep centering this down and this is not the only way to do this but this is the way I like to do it it's gonna start out as a wide shallow plate shape and I don't know if you're noticing I'm continually pulling this slip off my hands and adding it back to the piece so my hands will slip without having to add more water so I'm gonna do one last push come in with my left hand and get one little squeeze so it's centered and this will end up being the base of my piece it'll probably get a little bit more narrow once again like I said because I do things differently this is a little different for some people because usually do one or way or the other they open it up like a bowl and lift it out or they open it up like a plate I'm gonna do both I'm actually to take my finger and open a little hole here in the center step one guess one how thick are we gonna leave it this is the first place people will start to go astray because if you go too thin here now obviously it can be fixed but it's a little difficult so I'm gonna stab that down to the bottom and I'll lift it up and I don't know how well everyone can see but it's about a half an inch I probably have a space to go down just a little but once again I'm gonna trim this some if I could throw it to where I barely after trim and can just do the edge that's the best case scenario because of laziness but I prefer that so here's step one where things will get a little weird I tend to open away from me it makes your sense and doesn't work for most people but I've always done it and I've gotten it to work for me at this point so base I'm gonna put my hand on this side wherever you're opening to you should always have another hand bracing the outside edge so I'm gonna slowly start to work out a little bit of time trying to keep my hand on my some of the inside flat I don't want to open this thing up and realize have this giant dome this way or this giant gouge there's nothing worse than getting the depth perfect and then gouging it out so a little bit of water just on my hand continues to slide and you'll notice when I'm done this thing's gonna be kind of volcano shaped and that's purposeful I always want this thing tapered in and everyone's probably tried to make a cylinder before and it's turned into a bowl it wants to open up so I'm gonna fight that by forcing it to stay in and I'm going to compress this thing now about back down to kind of where I want it I will open it up some now because of the way I pulled it open it's gonna be Center at the top and thick at the bottom so I'm gonna go ahead and compress it back down also just so everything starts out as a knife nice even thickness so basically we're at a very short squatty kind of dog bowl shape so I'm gonna check the bottom I'm just gonna use my sponge at first just to smooth out the very inside and because of the shape I'm making I am gonna want a very small rounded edge where the wall meets the floor you don't want it completely straight up for multiple reasons one cleaning you make spaghetti or something that hard to get into those little edges a slightly rounded shape will be stronger it'll be more flame proof and it'll be easier to clean up so even if you make it squared off at the very end to be worth taking a rib or something in there to round off that inside edge so I'm gonna compress down as weird as it sounds one more time why push down if you're gonna pull it up because I want everything is even as possible to start with I have found people who'll spend all this time they'll get it almost perfectly they'll stop and the thing will have a little wobbly like this but I got close enough and they'll go where they just spent three or four more seconds you're gonna give yourself a better chance for success if you spend a little more time the more centered even this is the next step will be even easier so I'm gonna smooth out this edge and what I'm gonna do is just go to the bottom and a lift and pull and once again this is gonna be a 90 percent my right hand when I do demos for intro class and other ones I purposely do this demo so I might as well do it for you all here it's not a showing off thing it's just to prove your right hand make cylinders lifts up the walls your left hand pushes them out and makes shapes so only with my outside and I'm gonna grab and slowly work my way up and up and up and you'll notice things gonna get a little bit taller a little bit thinner and it's gonna keep that kind of volcanic faced in shape I don't actually do that when I throw but if you turn this into a wide shallow piece too quickly you're gonna have a very hard time coming back because it always easier to go vertical and open it up some then start open wide and bringing it back in so same thing I'm a compress so we talked about the piece leaving it a thicker piece to begin with but also want the very top of this to be almost twice as thick as the rest of it the goal is for us to have the wall of the piece the base of the piece and the wall needs to be thicker at the top because I'm gonna split it to make the flange where the lids gonna sit if it's a little bit thin at the top already you split that in half you push the clay down everything's gonna be even thickness except at the very top so it is another thing at least for me difficult to leave the top thicker than the rest of the body and there's a fine line of how thick can I leave the table when it's thinner underneath so I'm gonna start back down at the bottom and this one I'm just going to smooth out one because I just did that odd pull with nothing but my outside hand so hopefully I can see my arms are locked in nothing you know I'm not doing a bunch of movements it's literally just this that's all is happening I'm not a big sports I mean I love sports I'm not great at most of them but just like anything else the fewer moving parts the better shooting free throws swinging a golf club I think that's probably a thing a golf coach would say don't do all these weird things same thing golf and throw in flame where they're pretty much the same thing so at some point once I open this up a little bit it's easier for me to make it my hand down inside I'm gonna spend a lot of time with my metal rib compressing the floor one the more you can press it the more strength it is you align the particles it'll be stronger and two it'll start to burnish the bottom the smoother we can get this bottom now the more nonstick and smoother will become there is some sand and grog in this clay body so it'll never be super super smooth Matt the owner here has made pieces and he started out with sanding pads like a 60 mesh to a 120 to a 200 to a 400 or 600 it's like a piece of marble now he has more patience than I do that's a great question so the question is could you make a terrorist Sajjad or something out of this clay so technically the answer is yes you got to be a little bit more careful because you're putting a layer of something on the outside of it should be fine but if anything were to crackle off or with the flame run into issues it might be that so I have mixed this before taking this turn it into a slip and mix it with like a light colorant or something to get a slightly different color just for outer edges or putting it on the knob but you definitely could what I tend to do is use a metal rib and just burnish the hell out of it while it's on the wheel and then when they fly they're hard and bone dry all burnished it even more so that way it'll be less work later on when it comes to actually smoothing it out with some sort of tool all right so that was two pulls vertical this one's gonna start to let my left hand open up towards the top a little bit and once again when I get towards the top I'm gonna ease up some I do not want to thin out the top any more than it is so the way I throw almost any Bowl is two pulls get the weight of the piece up the third one your left hand starts to push out so based on a vertical vertical then a v-shape and now I'm gonna spend some time in this very bottom edge rounding it out just a little bit so and I tend to do just about everything with my hands and a sponge and then I will come in on the final pass with a metal rib just for shaping so I'm gonna really lock my arms in really have my hand on the inside I'm gonna start to lightly push out so way down here the bottom there's still a lot of clay so I'm gonna grab it first I'm gonna lift that clay up and now I'm gonna slowly start to push out now you got to be careful you can stretch with your left hand you can pull with your right hand but if you do both at the same time your double thinning out the wall so if you're just shaping it's gonna get a little thinner just cuz the piece is getting wider you know if you start out a little cylinder like this you push it out this wide it has to get thinner well if I'm pulling and lifting the clay at the same time it's thinning it by lifting it vertical and it's thinning it by pushing it out so be careful with this final step that was my last kind of pull to get some height and now I'm just gonna use a rib to smooth it out round itself the cool thing here is this is where you decide what shape you're looking for once again I'm just going for a somewhat of a 45 degree angle a rounded shape that I could cook in I've had people make them just like this they wanted something taller they're mainly do soups and things they want to boil corn in it whatever it is so last pass here I'm gonna grab my favorite of all tools in the history of all time the dollar ninety-nine metal rib I don't think I've actually taught workshops where I forgot or didn't have one and I was stressed because I love this tool in this exact one there's multiples it has to have this little edge where it goes flat and rounded because I use this edge a lot down to the bottom putting in texture I use it for quite a bit this clay does an odd thing where it starts to dry out in rare spots so I found over the years of using flamer clays as you're pulling everything seems nice and wet and you hit a dry spot and every time it comes around so I do constantly use that slip or add a little bit of water if we're gonna run into any issues ooh it'd be now just because I've used a decent mount of water it's I'm throwing slower than I normally would just because I'm kind of talking through the process so all I'm using is this rib with my outside hand so it's got a tiny bit of a wobble not much it's good and bad thing about these at least for me when it's a cylinder I fix the wobble by pushing in from the outside you fix it with a bowl I tend to fix the wobbly by pushing from the inside out into a shape which is good it'll fix it but if you've got to push too much the thing opens up more and more and more so I'm gonna do one more pass I'm gonna once again add a tiny bit of water and when I get to this point instead of adding water the whole thing I tend to just take my sponge and try to like softly dampen the inside so final pass I'm gonna just open the top up a little bit more and I'm open the bottom a little bit more as well so it's important to get the rim as even as possible at least with my technique because I need to split this rim I need to put a flange in here and if the weird is doing this it's hard to get a needle tool or tool to slice it this is always scary part of the demo because once again I like the way I do this technique it's a three or four step technique it's a little bit silly but it puts the less amount of least amount of pressure directly on the rim of like a wet piece you could set this aside let it dry up some I've got a torch I get torch a little bit which is what I will do but basically just you'll know what's coming I'm gonna take the needle tool and if you can imagine this rim in thirds so the first left third then the middle of in the next I'm actually going to take this beautiful and hold it on here to slice a little slice a third of the way into the rim does everyone get some faces like Wow you'll see it hopefully when I do it but basically you don't need a lot of clay on the inside if I slice this right down the middle and open it up like this you're gonna have with this giant flange on the inside you don't need I just need a tiny bit of clay to lay down so when I lay my lid in there later it's something for it to sit on I've actually made these without that at all and for hand-building purposes I've just added little nubs later I made a grille out of one of these right through a really big one I put in three nubs and three parts and I put charcoal inside and I put a little rack on top and you make like a little mini camping grill I'm telling you it's never-ending I've made coffee pots and put on the stove while you're camping it's just very very cool the things you can make so I saw someone who made it was for one reason only as for sweet potatoes when he was camping and it could fit three sweet potatoes on the inside it was mainly covered as a little hole they'd slide in you could slide him out and that was it it was a sweet potato little ceramic camper to throw on the fire so so I'm gonna smooth out this edge just slightly and what I'm gonna do is grab this torch as much as I'd love the odds of collapsing this whole piece during the demo I think it'll be a little safer I love a torch something fake masculine and mainly about it probably but I also am just once again I'm a little a DD and a little lazy so if I get this going at a slow ish speed and I'm only going to do this for about 30 seconds basically the slower you can have the wheel speed the better the one place you try to not heat it much is the very very floor where it's attached to the back dries too quickly they're still attached to the bad even a clay that's designed to not crack from thermal shock will crack this still has a lot of moisture in it I'm not trying to get to like bisque temperature but you know you heat it hot enough you'll cause some issues I'm trying to heat up just the top inch or two so the next step will be a little easier how's everyone doing any questions anybody have anything going on so far as I just sit and flame this what's that it is very slowly I can probably go a little slower but this is okay if it goes too fast you don't stay in one area long enough so I just have this going I'm gonna let it go for it I said thirty seconds just to stiffen up some because even my technique is designed to not put a lot of weight down on the rim it's still gonna puts up so up here on the rim as well and just on the inside you will in a moment so if you can imagine let's just pretend this rim is an inch thick so if I go 1/3 of an inch 1/3 of an inch 1/3 of an inch instead of taking a needle tool and slicing it dead center in the middle I'm going to cheat towards the inside edge and the reason for that is I'm cutting straight down and I'm going to lay it down where I cut it basically so there are plenty of people who are better at this than I am and they'll just take a wooden rib and push it down on that tip but this clay like I said is a little problematic it's a little wet when you throw that tends to absorb a little bit of water so this just tends to be the safest way to go so let's hope that's enough does anyone have the time out of curiosity it could be 4 and I wouldn't have any idea right now 11:29 ok so I'm gonna use a needle tool and like I said if you can imagine me going direct dead center right in the middle of this thicker rim instead of going dead center in the middle I'm gonna cheat inward and all I'm gonna do is make a little line I'd say about an eighth of an inch deep so this is one of those things where you got to have somewhat steady hands I've had people spin the wheel this slow and try to do it if you get your wheel going a little bit quicker within reason it'll help do some of the work for you just like when you're trimming or doing anything else so I'm gonna go at like a medium plush speed I'm gonna come in because when you dry these out no matter what you're drying them a little unevenly so even if your piece was perfect beforehand sometimes you'll find it's got a little wobble now some a deep breath and I'm not gonna talk for a second I'm just gonna come in here's a very important rule about this sometimes your rim is curved sometimes it's curved this way if I go in and slice it and it's curved at a weird angle I'll just slice right through it so mine is actually curving in a little bit this way which means I may have to slice it at a little bit of an angle hopefully that makes sense so I'm gonna rest my hand on my knee I'm gonna come in always on the right side and I'm gonna use my finger as a guide I'm just gonna very slowly at an angle okay Sean felt his patented four-step process step one it's a little nerve egg step two we move to slightly larger tool and we're gonna open that up we're basically to turn it into a v-shape I'm gonna use the angled side of the wooden stick tool which believe you're not yes that is its actual name very creative and I'm gonna put it in here I'm gonna push forward a little bit so I'm actually instead of opening them both up I'm actually gonna lay this side down a little then I'll come in with my fingers then I'll come in with a rib once again it's a little bit annoying of process it works well for me if you try and you hate it I won't be mad at you I'm gonna add a tiny bit of water inside of this little groove I just made just to make my tool slide a little bit more easily and round two I'm going to come in I'm going to use the edge of this tool and just open it up slightly I've had people make pots where there's open up in a big V they smooth out both edges of that and then they make the bowl shape fit inside of the V it's awesome if you can do that it is very difficult to make it fit perfectly inside of there just because when you throw these rounded forms they don't just shrink they tend to curve in or out as they're drying all right so that was step two step three is gonna involve a multi weird finger method where I try to support as much of all sides as possible so I'm just trying to lay this edge down but if I lay it down too quick it's gonna want to sink and when I go to lay it down since it's still attached to this part the whole thing is gonna want to kind of move with it so once again a little bit of water let's take the sponge there's another reason it's good to dry it out because we're using a fair amount of water with this step so I'm gonna have one finger underneath one finger on top and the thumb all kind of you can imagine grabbing this edge and leaning it down and then this imagine this as our rim so we're compressing the rim as we do it so instead of compressing straight now we're compressing at an angle so it comes in [Music] all right so that RIM started to lay down the lid you're gonna make is really gonna affect what you're doing here if you make a nice thick lid which you should try to get your lid to match the thickness of the body you don't anything will work it'll sit on this edge you'll be fine but I'd like it to go down far enough that the thickness of this wall the thickness of that lid would fit in there so I'm gonna smooth out all sides and just so it completely doesn't collapse and hopefully everyone gets the idea I'm gonna stop on this one the final step is normally and I'll do it slightly something with a really great 90 degree angle so that will lay right inside of this flange and push down and if you've got enough clay there you could actually move this thing up and down that wall as long as you support it from underneath this right now is a full ledge that's wet and it's fairly thin compared to some of the other parts it just wants to sink so I'm gonna always have one finger underneath one finger on the side and I want this nice sharp 90 degree angle so now I'm gonna take my finger up and ease up this is once again if you're not in the middle of a 90-minute demo something you could let dry up a little bit and then do would be my recognition so I got it mainly where I want it this is now where I would move it aside come back later on when it's closer to like a soft leather hard and adjust these things because it'll hold it better one thing we didn't do much of which we can do now is just spend some time compressing the floor once again best tool ever I'm going to use mainly this edge but a lot of times I'll come in and hold the tool like this and just use this flat bottom aisle to actually switch it usually the way the wheel spinning I'm going here and it's bending this way sometimes I'll swap to the other side and have it Bend the opposite way just picking a side that works for you mainly because I'm not great with my left hand I'll use my right hand over here or flop it and use my right hand over here I've got enough where I can use the entire base of this definitely think about drying off your hands and drying off the rib before you do this just because it can cause problems it is a thin piece of metal if you've ever cut yourself one of these it's not fun so if your hands are nice and dry it's great the further back you hold this tool the better full-contact you'll get you won't get the little swirls and stuff at the inside of your pot if you end up getting this world push it down at one air you like it slow lift it up move over push it down again it'll help keep it I don't want any texture in the bottom of this it's cool to put a big squirrel in there but once again cleaning Chile or something out of little grooves later on is not fun so simple is better in my opinion for bakeware I don't want to carve detail work in the outside I don't want to make it thinner or thicker I just want one nice even bigger pot so once again I've got pretty well on this eye but I'm gonna flip it and Bend the tool the opposite way so I can smooth out this edge as well sometimes just based on the way it's spinning on the side of the pot I can get access to it better on the left side so that's it for step number one that's our flame we're Castrol I'm gonna throw a lid but I'm gonna throw the body of a frying pan first very rarely I'm gonna be cooking a roast in this thing and frying something in a pan at the same time so what I do is I make the lids fit both and that's a good trick for anything if you're gonna sit down and throw a bunch of jars that you want to put lids on you can make the jars as different as you want but if you make the openings the same you just throw a bunch of lids and you can mix and match to see what fits later on so as of course that was accidental basically I took the lid off one and I needed a little quick grease splatter thing and it fit perfectly on the other you don't always have to have this perfect flange I taught a workshop where you could choose between the two you can do this step you'd be surprised how many people said yeah let's try that afterward or you can just throw your piece to have this angled edge to it to where no matter what the lid is gonna fit inside of that angle if you can imagine like a larger tagine a lot of times they have this edge but you make the piece and at the very top you flare it out some there's a really nice piece and I'll talk about a little bit later I wish you had a board I could run up for you but you basically throw a bowl with a really wide flange all the way out you come in and you slice off two sides of that and then you have the wide flange only on two edges so what you're doing is you make yourself a built-in handle and then same deal you don't need a flange you don't need anything else you just need the lid to fit inside of there does that make sense no all right we go through one we're done yeah imagine just a bowl shape right similar to what we have here but instead of coming up like this it flares out all the way around so the entire surface of the bowl has a big flare this way so instead of leaving it all the way around what you do is you can slice off that flare on two sides to where it only flares on one side and the other so what you end up with and I'll show you image this might be one of those everyone come look at Sean's a little phone at the end of the workshop to see what I'm talking about I know that's not a bad idea but anyway it's just another way if you're gonna sit down throw a lot of casseroles do you want to do this or do you want to come up with a way that makes a little bit quicker so we'll talk about that in a little bit but there's ways to expedite the process all right so I'm gonna pop this one off it's gonna be heavy I don't know if you saw the amount of clay I started with probably bout six pounds most the time I could have done that pretty easily with three if I were making like a bowl for just eating a drink Adam so drinking drinking well I usually cut it as soon as possible this one is this clays a little different it's a little on the damp side I'm going to live it let it stiffen up just a little bigger wider pieces and thinner like plates I almost always cut immediately the longer you wait for the drive the more the wire wants to slide up into the body of it so what I'll usually do is I'll take wooden stick tool and I'll make a little groove all the way down here at the very bottom edge we're gonna get rid of that anyways and what that does is it gives a line for where the wire is gonna start just to give ourselves a like a little head start I'll cut off this excess clay here and then I'd slice underneath it but once again this is so wet when I go to slice it the things gonna want to oval on me cause some issues you're definitely probably gonna have to put this definitely probably put this back on the wheel at some point and make sure it's still nice and round because even lifting it off the bat is gonna possibly oblong the edge of it so I use a little metal rib to slice underneath and I'm gonna take this and I'm gonna go move it off to the side I'm gonna make what's really funny is I might just do the frying pan or the lid because they're the same thing the bites a plate shape one of them for the lid one of them for the body but I'm gonna set this off to the side so basically once just you guys know what's going on here I threw this one the other day this is the one I just do now very similar pots I'm gonna throw another one of these now for something for later but I'm just gonna throw a quick plate shape this is very simple I love making plates and I despise everything else about them in terms of trimming glazing bigger buckets slow I'm not I'm not a guy who likes the baby things I'd rather just keep rolling with it so plates like I said they're very simple to make but they're not always the easiest just to follow through with so this is gonna be the base of a frying pan or skillet and once again this is up to you to start with how are much clay you want to start with you want to make a little baby one grate still pick up the weight a little bit because you want to leave these things beefy so we're gonna take they're probably three-eighths of an inch they'll trim down so I keep talking how heavy things are the frying pan you lift it up you're gonna notice there's some beef to it the casserole is not super thick but for the size of it it's evenly weighted which makes it feel nicer in my opinion but it's still a little on the heavy side so compared to anything else I've got one or two over here that are quite a bit thinner and they have some very small micro cracks in them we'll talk about a little bit of somebody reminds me how flame were cracks when it does because sometimes you don't even know it's not gonna split in half it's pillows on you Allah grab and just gonna hear ping as they are it's quite a crack you could use it for a year longer it's just it's designed for that purpose so we're gonna do three pounds or so once again just a quick wedge if you've got clay down on your wheel from before and it's a little soft it's fine if it's starting to dry up you might run in some issues this one's a little firmer than I'd like so i'ma go ahead just scrape it off so for shrinkage purposes is why they need to be as thick so yeah the question was do the lids need to be as thick as the bottom for flameproof stuff not necessarily you're not gonna I mean I do purposely make the lids where they can flip upside down and sit so we can put spoons in them or serve them you can do stuff with it but they're not gonna be in contact as much with the direct flame the reasons they're the same thickness is if you made them thinner they're gonna shrink differently they're not gonna fit when all said and done see I talked about how great this was I don't think I even used it round one so we use it round two all right so once again I start from the top and I really focus my pinkies down here at the very very bottom I'm gonna put some weight from above because I'm gonna the Clay's a little weird and it's just one of those things I'm gonna keep saying it's a little weird and eventually when you're try it you're gonna bite it's kind of weird it's hard to describe why it's a little grainy it feels dry when it's not and it kind of slips and slides it doesn't want it here as well but you got to put up with those things for it's amazing flame proof property so this is called Diablo flame where we added to the hablo later because we thought it sounded like hot flamie something but it was originally just flame where clay we're like we could probably do better every other clay we make here's got some cool name like Big Sur Santa Cruz it's either someplace in California or something celestial and the Diablo is the only one well technically like Diablo whyever that is one at creaky area I'm from Kentucky I've been here 10 years I still don't really know some of the places they Mount Diablo ok when am I finished alright we got some time I'll speed it up a little bit so here's how I like to do any sort of plate you fix as you go I'm gonna just compress the hell out of this thing this is the only time you'll ever see my arm away from my body is I'm going to use the meaty part of my hand if you've not tried this trick it's great so I've got the piece pretty centered and instead of like slowly bringing out a little bit of time once again I'm using the meaty part of my palm I'm gonna chicken wing my right hand out and I use this part and then I'm gonna bring my arm back into my body and what that's gonna do is really push some clay and bring it back towards me so I'm gonna make a pretty big intention now no matter what that's gonna dry up some so I'll add a tiny bit of water so a pretty big indention my left hand is providing a little resistance as it always should and then I'm gonna slowly flatten some clay out now I don't have a lot of sensitivity or touch and like the meaty part of my palm here so what I need to do is then always come back in and smooth it out some so my left hand once it goes to the edge just move it out I'll grab one of my sponges and I'll pull this to smooth it the rest of the way so this is literally going to be the same way I make a plate it'll have very subtle differences the main difference here is I got to be able to put a handle on the side of this thing and I have to be able to do that the handle can't be so baby-fat at least the way I do them so I need a little bit of height from my skillet so what I'm going to do is there's my plate you know fairly thick that's all right well smooth well trim I'm going to use the backside of this once again and I'm really going to compress this inside edge we can compress more as we go but that's just a little helpful step and I'm gonna add a little bit of water to the edge so this is the way I teach plaits is the way I always make them I'm gonna take one finger flat to the side of this I'm going to slide it underneath between the bat and the clay so basically I'm gonna slowly slide under and I'm gonna stop when I get to point I'm gonna let it rotate a few more times so you just do it and stop you're not gonna get the right amount of space all the way around always easier to pull a piece of vertical if I try to write this now and pull this out sideways it's gonna want to flop on me so what I'm going to do is grab this piece and lift it vertical and I'll lay it back down after it so one thumb underneath one finger on top and I'll use my right hand as well so there's our vertical little once again dog dish always comes to mind if you're starting out with a dog dish you're gonna be fine so now I'm going to lift this vertical most people have a problem with plates thicker at the bottom everything else gets thin we do want to get once again want to leave some weight to this it'll be our smaller little two eggs three eggs small frying pan so I'm gonna lift this vertically from here I am going to let my left hand push out a little bit because I don't need it to completely go straight up and the key here is it's just wasted clay down here in the very bottom edge so I want to try to lift that up or else I'm just gonna cut it off and that'll help give us the height we need for the rest of the pot all right it's a one more very very bottom edge while it's still vertical I might just be a cheapskate because here's my other favorite tool piso plastic I tend to lose these but they're free shammies are a whole 75 cents but I lose those too this thin little piece of plastic I just literally rip it off of any bag I see I'm gonna round it and basically this is gonna be my chamois and you'll see how smoothly it rounds off this edge glossy smooth around perfect within a second this will get left in your clay because of you clay colored and when they reclaim it at whatever studio out of your home you're gonna find this big chunk the chamois gives life your clay it's gonna decompose because it's made out of skin and it's gonna turn to like black gelatinous ink that smells really bad in your reclaim bin so keep an eye on regardless of whatever sort of chamois you're using so I'm gonna dampen the inside one more time and I'm going to use my pointer finger right on this edge and I'm just going to lean it back no pulling no pushing literally I'm just going to pivot now that I've got access to the entire eat inside I'll smooth out that extra water and I'll compress the floor that's it so once again hopefully you can see how this could also be the way we make our lid the only difference here is I grab calipers if anyone wants to see it but basically we're gonna measure for doing the lid our flange where we have that L shape inside of our larger castle we're gonna measure this edge to this edge with our calipers and then we're gonna make our Bowl fit just right I actually prefer to make it that is how crazy it sounds a tiny bit too big like a micro bit too big because later on you can always come in and just shave a tiny bit down where it's hard to like widen it out once it's firm or leather hard so this is gonna be our frying pan but it could very easily flip upside down and be the lid so everyone makes sense right so I'm gonna pop this off and what I'm gonna do is I'm gonna grab a couple of these pieces that are now a little leather hard from the other day I'm gonna show you all how to join them and I'm gonna do it right here at the wheel because why not who needs a bunch of space in a table when you've got a spinning wheel head so I'm gonna drop this off so I'm gonna start by trimming my lid that I made on Thursday so all right this would be a great time at home dry your hands grab a beer take a break whatever you got to do and come get into trim mode since you've been in thrill mode this whole time so all right so I'm basically just centering this piece getting as close as I can little bit at a time doesn't look very centered but that's pretty close so couple chunks of clay to hold the piece down this isn't anything different than anyone's ever done if they've thrown a piece on the wheel and had to trim it I'm gonna keep these fairly low and shallow I do like them to be even I'll make three pieces all about the same size some people just kind of grab whatever they got and stick it on there this will help everything hold on evenly so very bottom edge I'm always holding on to the pot and I've just got little lug that holds in place same deal another little piece holding onto the pot standard Shawn felts workshop very very slow and then super speed so just be ready for all the things we're gonna fit in in the next 20 minutes all right so give it a little wobble everything fits that's great here's the problem I have to drive a trimming tool very quickly so everyone just take a five second breather and we grab myself a little rag too because somehow I remembered everything but that so I'll be back in two seconds I chugged a beer when I was in there - you guys missed it so shrimping tools are important I find these around where ceramics supply shop I just grab whatever we've got that we use they are awful standard camper or whatever else sorry that's gonna go out there hi everyone a camper if you're gonna sit down and gonna trim you to this head these are four or five bucks apiece these are 11 they are made out of carbon steel so groovy tools Dolin tools though some others they're definitely my opinion worth it this thing I did not know like said I usually work Fridays I was off yesterday I went saw Hamilton by the way it was great I forgotten I booked it for noon on a Friday when I booked my tickets not paying attention so more left stories usually I'd be around for one more day watch my pieces make sure they're perfect we did a bowl Athan here once we're through 1500 bowls for charity some years back and three of us trim them all and these Doland tools were the ones that worked the best like I said they're carbon steel they stay sharp forever they are more prone to rusting because they're not stainless more or less Turia's get yourself a nice trimming tool this will rip through just about anything until it's literally almost bone-dry so I'm going to start on the edge and I don't need to trim much when I threw this I purposely cut off a little my goal here is just to literally if you could slice this in half which we will try to get his even thickness all the way around so I start on this edge and I'm gonna go fairly decent speed and trim fairly quickly but I'll keep an eye on these little lugs of clay because I don't want this pot to go fly-in if you find you're running into issues every trimming most people do it all the way up here like a 45 degree angle at three o'clock or so if you bring it back down here in between like three and six it tends to carve a little bit better and some tools are actually designed for that angle so I actually bring it a lot of times closer to me you get more control over it and I'm really holding on to the tool I'm really sitting close once again this isn't one of those like take a little clay off and you'll see my wheel is going fairly rapidly for a reason I keep my foot on the pedal almost at all times even though I tend to teach people to get to a good speed and take it off I keep it on cuz I go fast and sometimes it goes too fast or sometimes bad things happen it's good to be able to slow it down and stop so we're gonna try it quiet to see if anyone can hear here real quick so thicker part versus thinner parts thicker parts gonna be a deep thud thin should be more like a bongo it will reverberate so okay so I'm trying to match so it's still fairly thick here in the middle this is quite a bit thicker so I'm just gonna take off from here out I'm actually not gonna get to the middle at all if I don't have to the only time I'll go to the middle the trim is if when I sliced it off I didn't slice it very well and there's like a little lip or an edge to it Lin and I side by side the two loudest people on the planet maybe that's why they always stick me back in this corner it's probably smart of them yeah just stick me outside first time I did this I thought this is a microphone oh no I'm not gonna need that all right so one lap screaming is trimming but the big thing here is once again I'm just trying to round off and smooth out edges and try to get to an even thickness which means mainly no matter who's throwing that bottom edge where you throw your piece is always where it's gonna be the thickest we want to really get rid of that extra clay down to the body all right so pretty good if I was working on this at home I might spend a little more time Zen anyone ever thrown a knob for a handle directly on to their piece all right this is how I do almost all of these once again I don't like to roll it out wait sit at the table doing both I'm gonna do them side by side so there's always a risk this is where it's the sanest I'm gonna have to put a little weight in the middle is to get this little piece to stick another big thing about knobs with any sort of cookware they need to be big imagine reaching in you're not gonna bear hand it you're gonna reach into the oven or whatever with like a giant pair of and Mitch or a rag you need to be able to grab ahold of it so you'll always see mine have some sort of kind of mushroom shape we can reach over the knob and grab ahold of it so I'm going to take a couple ounces of clay and more even I get this the better that'll be easier for me to actually trim and I'm gonna give myself a little guideline with a needle tool and I'm gonna go ahead and just use the needle tool to also kind of score up the surface here I'm gonna add a little water if I got some slip from throwing earlier that's even better you don't need a lot too much slip actually my opinion causes problems the thing will slide a little bit more you'll let more that goop you got to clean up you just need enough to give yourself a place for this all to stick to same thing as weird as it sounds even though it's wet clay I'm going to scratch up the side of the bottom and when people do this if you do just like a tiny tic-tac-toe board that's not enough in my opinion you really want to picture in your head like velcro like these two pieces are really praying together when I push them out they're gonna fill in the gap on each other so this is too much I know it so I'm gonna do a little less and I'm gonna really be ginger cuz once again you all heard the difference in the sound here wouldn't be the first time I pushed through a pot during a demo it will not be the last but let's all hope and pray that doesn't happen right now so you can actually make these they're a little more Hershey kiss shaped out which I should have done so I can start spreading the clay to make it stick so what I'm actually doing is use the back a little wooden stick tool and I'm going to grab some clay and push it down grab some clay push it down this is anything you can do to get it to stick a little bit easier without having to put all your weight into the standard style of slipping and scoring all right so hopefully that's a good start now this is another thing only a little bit of water at a time I don't want a bunch of water dripping down gluing these wads on to whatever else I've done so a little bit of water but I clean up as I go and basically I'm gonna try to just work from the outside lightly smoothing making sure it's stuck well before I do anything else and I'm really keeping an eye on the pot [Music] so nice top I mean that could be it but that's quite a bit thicker than the rest of it so I always want to hollow it out it's almost like just throwing a little cylinder [Music] so that went down towards the bottom where I wanted it to go once again a little bit of water and I'm just gonna lift up and pull now the good thing about this is you're putting so much time into scoring it's slipping and pushing down pushing up it'll hear really well the bad thing just like any other time is this is quite a bit more dry than this is just like adding a handle to a coffee mug so what I'll do usually is give it a couple spritz with water and wrap it in plastic for at least a day and then I will let it out in its natural habitat so so once again all I'm doing is pulling up it's like a little I use the word shot glass alap and I mean that's what this looks like to me and what I'll do now is this or I'll open it up I'll put one finger on the outside one finger the inside and push it over and that'll lay that edge out and if you've ever taken a class or workshop with me you know I just can't leave well enough alone and leave it smooth and even so I tend to come in and put a little flair of some kind they do it'll still flip upside down and sit fine because all three edges do the same and then I'll usually come in and try to smooth off any kind of mess I just made now now that it's attached I will let this stiffen up some I'll come in if I need to add a little clay or smooth it out afterward I won't do it there I'll put it back on the wheel and do it but that's just how I attach a knob to the rest of this body and you can see it's something pretty sizable you can grab ahold of it sit yeah yes so even this I'll be honest with everyone it's too it's not too thin but it was recently thrown just tram mine's thinner in the middle also so you could up that another way to take a coil take a couple coils and wrap it around some about anything you do to not put a lot of pressure downward on it I have actually taken this exact same approach I've trimmed it then I've lift up and put two or three sponges the bigger ones underneath then put it down anything to give your little self a little bit of pressure still up it's a crapshoot if it's gonna work or not I love doing everything at the wheel this is something if it works a little thin probably better throw a knob let it both stiffen up score it attach it move my hand on the underside I do everything at the wheel literally to a fault whether it's the right way to do it or not so so there's our lid this time I at this point I don't think it's gonna move down much more than anything else so I think it should be alright and what I would normally do is as I'm carefully walking over there I might from underneath just push it up a little bit now just to give it a little bit of a home so I'm gonna take this guy off I've got 15 minutes and I think we're gonna have enough time to show you a few things I think even though everyone's gonna be leaving or doing where we eat lunch I think I'll wait till we're finished and I'll throw this stuff in here and then whoever wants to see it cooking in this net it'll flame up and start going immediately but it'll take some time before our broccoli is done so yeah so I've used a sponges or newspaper or something underneath some that will give a little bit but something that will keep it kind of going from there so you can almost see if you came close enough it's got a little indent I'll let it stiffen up some and then what I would do is come from underneath and just lightly push it back up or maybe even just take a rib and smooth it out all right so we've got the handle I'm really I'm only trying to focus on that tiny little area so letting it stiffen up so it's a fine line of to firm versus too soft so you want to gift like that almost leather hard we can pick it up without it moving but too hard you're not going to push that up much so I'm not going to trim the bottom of this one guys just because you seen it once you've seen it a hundred times when these stiffen up a little bit I'll put this on here to show you all hopefully how this fits I do want to spend just a couple minutes showing you all how to attach a throne handle it's not something I planned on demoing in terms of the handle all I did was throw a cylinder and collar it in quite a bit so it's a narrow thin cylinder it's always gonna be quite a bit thicker on one side and thinner on the other the thick side tend to be where my hand goes for a smaller frying pan like this that's probably okay the longer you can make these the better so I do have one that's a decent amount longer so I'm gonna come back over to the wheel and I'll show you all how we do the next step here literally just a cylinder like I said I could do a demo it wouldn't be anything worth recording or watching all I do although I will warn you at least for me it's a little difficult you're throwing something tall and narrow you have to throw it a little thicker collar it in you got to get enough your finger or tool in there and collar it because it's gonna be thick and your collar it's gonna be thick alright so if you've got a studio there's a nice table this would be the one I would move over in the hand building land to do this it just gonna make it much easier for you so I threw these once again on Thursday they stiffened up quicker than the rest of the pieces for some reason so they're little on the firm side but they're not terrible this was thrown vertical I just try to get as tall as I could and I wanted to get it as near as I can at one point cuz it's actually gonna attach to the piece this way this is a little janky at the moment it's something I would come in smooth cleanup you could actually attach it to the wheel vertical and trim it to get rid of some of the excess all I'm gonna do is use a needle tool if you had a fettling knife you could also no matter how well I think I throw it like anything else it's gonna be thicker at the bottom so I'm gonna come in I'm gonna just carve about half of this out so for this demo it's not gonna be the world's prettiest handle attached but it should get the job done for what we want to do I just don't want it way thick on one side and thin on the other because just gonna cause problems and weigh the rest of it down so we're just gonna smooth out the edge this is gonna be that back handle side so this is something I would spend my time getting it as pretty as possible this is the part you're gonna see that part you're gonna hold I'm not gonna necessarily do that so sometimes even these little rounder trimming tools are great because I got that thinner edge to come in and just try to cure it grind off a little bit of extra clay all right let's pretend you really use your imagination that that's beautiful on the outside what has to happen now is this part has to attach to this now if I attach it the way it wants me to it's not really gonna work out so I need to cut this at almost a 45 degree angle this way so the thing will lift up some you don't even want it straight out imagine trying to grab this with your hand close to the flame if you have it a little bit the reason I have this is this is where my hand goes it gives myself a reminder and this will stay very cool to the touch because it's hollow air is the best insulator there is you could roll out a handle you could pull one you can do a lot of things with this I fine has the best I could take that frying pan and do this with it and it's not gonna go in there with a big beefy base you need a little bit more of a handle so now I'm gonna just start at one side and the other give myself a guideline and I'm gonna carve up and take away a little bit of this clay just happens oh yeah that's way better so once again you'll hear me keep saying Cleese kind of weird it needs a nice sharp knife it wants a criminal this is a little on the dry side once again but it needs something fairly sharp to slice through it even when it's a little bit leather hard just because it's kind of grainy and when you cut it kind of odd things tend to happen so let's just pretend we're getting close but this bottom has to clear the floor so this can't touch also so if you look pretty darn close I might slice just a little bit more off because that's right now no matter what this bottom section where my pinkies touching is going to be a little low so we'll do one more slice we'll get rid of a little bit of this edge here and I do really look at it and try to make sure it's even because if you slice a little bit more on one side of the angles are off the things gonna sit a little janky there's my favorite word of all time so I have an idea of where that's gonna go right on the side of the pot doesn't really matter unless you have a defect just like doing mugs or anything else you find where it's not the prettiest and you hide that area with a handle so that goes there circle meets the spot so double little concentric circles score score score all the way around score this that's where they'll meet it's not the easiest thing to join so these are a little bit problematic if you get the dryness level just right it's okay it's not like the worst thing ever if it starts to stiffen up a tiny bit or if it's a little bit too damp it just tends to want to no matter how much work you do if you kind of take your hand off the thing wants to just pull away so I tend to do is flip the whole thing upside down and then I give myself some space I'll pop off the splash pan and what I'll do is I'll come in from the back edge so I have something to kind of lay this down on to it's great to just literally have a bat to where you can have it hanging off the edge and then you have all of this space to really spend time making sure it's really well stuck on to it so no it will do just because we got it we'll give ourselves some height flame wear is versatile for all things or is it keep you around for a reason this would be a great time to turn your wheel off so you don't splatter everyone in the audience so I'm gonna do my best once again it's like a TV cooking show nobody pours things into their batter like this way but so you all can see I'm gonna try to do it on the side here so I really scored up the side I'm gonna really score up this as well I don't know if you notice I'm gonna Cajun aliy dunk it in water or I did it a couple times already because like I said it's a little dry not too dry that it won't work but it's fairly dry okay so just like anything else I'm gonna bring it back towards me just Ramon if you don't mind guys I'm gonna spend some time pushing it on see it's good no one could see that I got a wet I ducked my hand the bucket I really swirled around because this little dry side it kind of made a slippy feeling almost right off the bat hmm-hmm-hmm it's gonna get a little shorter than it was sorry to say I think this dried up a little more than I would have liked so we're gonna do a little bit of the what would I do had it been the right dryness level alright so lightly push it up against the side and then I'm gonna use a wooden tool just hate it earlier and I'm going to take the clay from the actual handle I'm gonna slowly push it into the rest of the body this might not stay on at all guys I'll warn ya girls guys ladies gentlemen with the amount of force I'm going to need to push it on there it may not stay but I think by the time we're done at least everyone will get the gist of the key is kind of the angle of how you want to do this so I'm upside down which means it needs to be leaning down not leaning up I do and actually believe it or not this is little ring is enough but if you can make it to where this is a solid piece of clay instead of just a ring attaching it the entire thing is solid even if I took a piece of clay right now attach it here got it all to stick and then I get score up the entire surface it gives you a little more strength and you're not losing any of that airflow because it's flat so if you can imagine this pushed onto here nice and dry then that whole thing goes on it's just gonna give you more clay to join onto the piece so I'm gonna give it one more little dip I have a feeling old Sean's not gonna get this one on here just to warn you but so it's either gonna crack the handle or crack the pot I have faith in myself to a degree this is where you really need a third hand so I'm holding it from underneath holding it from above I apologize you all can't see you at the moment the goal was to get it enough to I could show it to you but I don't think that's gonna happen it's not pretty even when everything goes well it's not very pretty when I first joined things I'm using I don't care what it looks like I really want it to stick I'll keep it vertical come in I'll let the weight of the piece itself do all the work for me so the verticality of this is really the only thing kind of saving and this is not quite the angle I wanted but as long as it comes off to where this isn't gonna bump it anything it should be alright if it were bit softer you can kind of get on there and you can tweak it just a little bit at a time so just so everyone sees as soon as I touch it the whole things wanting to come off so we're not gonna get to this one sorry to say I do want to we got maybe five minutes and I'm sure I do want to show something real quick cuz I love I make a lot of stuff like I said I have my interest will go from late got flame wars done I'm only in the pit fire for this year then I'll get out of pit fire and oh I'm just gonna wood fire everything or now I'm into bottles now I'm into jars I'm gonna grab a little clay and just same thing while we're sitting right here I'm gonna show you a quick trick cuz I do like my handle style on these style pieces so I'm gonna grab the little over it's gonna be a quick two minute demo but the key is just going to be how I angle them so they attach to the piece so I'm gonna be back in just a second I like this little surface lifted up and the good thing is this is something I would do at the wheel once again because I don't need a ton of space I'm gonna roll little coils this long I think rolling coils still to this day is one of the hardest things to do in ceramics and how to do it even and there's a couple of tricks I've learned over the years I don't know if they were faked when people showed them to me I've taught them to lots of people and I hope they work but I've had some people agree with me that's a good trick so I am purposely wedding some of my bat some of the board's on the table whatever you all are going to be rolling your coil on and what I'm gonna do is roll from dry to wet back and forth no matter what even if your clay is in a perfect shape rolling it out touching me - hands rolling it on plaster or wood or whatever that may be it's gonna dry it out some we want this thing to be bendy it's a real word bendy after we roll it out so by rolling it from dry into wet we're gonna keep a little bit more now too much water the whole thing is gonna go crazy it's gonna start sliding I know there's gonna be more clay than I need so I'm just trying to roll two three inch little nubs I want to make them identical so what you can do is were one big coil you could roll a few I'm gonna do it fairly quickly and I do like to start in my hands I know I can roll it pretty close in my hands and then I'll go to the the board here so once again there's a little bit of wetness here and if you find yourself starting to square out a little bit it'll happen we hear the thud thud thud this is the trick I tell you it works whether it's mental or not you roll twists in one direction one clay one direction the other does everyone ever seen that no all right so some people say yes some people's don't know whether it really works or just your mind thinks it works like immediately it seems smoother to me as soon as I start rolling it out so like literally a second of thought that you do that twist it's something about keeping it round I don't know so I got taught this many years ago I've taught it to a lot of people and whether it works or not I'm gonna keep doing it because in my mind it works so I'm going from all the way the very bottom I hand all the way to the tips of my fingers so it's not just a little bit all the way up all the way back and this is going to be enough for me to make both of those coils and you don't want to go too thin once again we've got some beefy things we're gonna lift up it's beefy already imagine a five pound roast or a bunch of soup or something that you really want to be able to grab it so I'm gonna take this piece and I'm going to come in with my needle tool and I'm gonna slice it in half then I'm gonna lay it side-by-side little thin on that side so you can actually reverse roll if anyone's ever done that just to rethinking it a little bit all right so I'm gonna lay them side by side and I'm going to cut both of them to be exact there's one there's the other so here's the trick for me do it so everyone get to see everyone behind me this way see so basically I'm gonna take this I'm gonna flip it up let me take this other side and I'm gonna flip it up OOP try that one more time let's flip it down so the idea is I'm trying to bend it underneath so I'm gonna take it and I'm gonna really get a bend and bend it underneath I'm gonna take the other side I'm gonna try to really get it to bend I'm gonna bend it underneath so basically when I join these parts to the clay I'm gonna grab this piece so I can show you all the demonstration here when I join it to the clay it's joining in on a flat surface but when you're lifting the weight you're lifting from another part a lot of people would just join it like this that's it but when you go to lift you're literally pulling trying to pull it off the idea behind this is you're not trying to pull off it's a different angle so you're lifting upward you'd have to pull it downward to try to actually break this handle off to piece that makes sense to everyone it took me a while to kind of figure out this style and I started liking it the most cuz I just liked it aesthetically but function is much more important to me than aesthetics so step one it has to be functional then I tweak it to make it pretty so I'm gonna grab this little guy real quick and same deal here I'm gonna take this I'm gonna bend it down I'm gonna bend it down so I don't know if I only see nice soft fresh clay starting to crackle a little bit on the edges this is flame where this is something you just have to be able to deal with got to come in and smooth it out you have to take your time but the idea here would be I would come in with the flat edge trim up an area here I'm sorry trim up score score up an area here as well I'd find an area on this side in an area on this side and I would do the same really score it up really score it up so basically you can see I've got this little scored area on the outside of the pot I would get it wet and I would attach it and once you attach these they're much easier so we'll push it in after we just give it a little dunking water and its strongest flame where is it's it's a little bit more brittle at the leather hard State I found another clay so I want to push real hard I could crack this rim I think a little bit easier than some other clay bodies you got to have to put up with some things for the flame were to do what we it to do so I'm gonna spend some time just pushing those in and then once they're in I could come in and smooth out this edge and try to get it to kind of whatever shape I want I'll get a little bit of water I'll smooth out any of those little cracks I would try to do one I always do one first then I rotate I'll do a couple little lines here it's very odd to put one on one side here and the other ones weirdly ends up over here so make sure they're right across from each other I do so this one was actually fairly rounded as well it's when you push it in if thins out some and then what I'll do is I'll take a wet finger and I'll come in and smooth it out to give myself a little bit more space every pot it's gonna be different you've got a tiny little pot a couple love's you're fine you've got a big one you might need a roll out of coil this big and quite a bit beefier a lot of times what I'll do is I'll roll a coil get it to the shape I want and then I'll take a rolling pin a small one and I'll flatten it out slightly just cuz what I'll do is I'll give you more room between this part of the clay and the handle you just added right now it's kind of a coil where sometimes a little squished in is fine you don't need much you want it beefy and you want to attach but you don't need like something to get three fingers or need something to be able to grab onto and lift a lot of people literally just do that idea where they just attached this and then they'll move a couple of grooves underneath so your fingers can grab ahold of some people even flatten it out and do the same so just something to get a hold of but it needs to be extremely strong to be attached to the flame or clay body so I know sorry guys a little haphazard at the end there with trying to get everything in there any specific questions there's a few things I would like to touch on in terms of the body and firing but does anyone have any questions in particular about anything all right so couple of notes besides flame work hazel clays a little weird it fires fine up to cone nine nine and a half it's designed for ten so you should fire to ten if you're just gonna make simple shapes these little handles wouldn't need anything else done to them the longer handles that come off if you've got any like teapot spouts anything that's kind of holding out on its own in the air unsupported this clay is very pyro plastic meaning when it gets up to close to the temperature where it's supposed to be fire to you let's say your find of 2350 at around 2300 it can get a little saggy so some things need to be posted so I've actually did a workshop at hire fire we had most of the things we're fine and we knew so any little spouts I guess had tea pots were the big one we did a workshop with tea pots for flame ware and all the spouts come out we would take a post just the same thing to post up your kiln shelves with and we put a little clay or something you want it to be able to shrink and move but you don't want it to be just sitting to put in the air to where it falls flat these handles are the same so these handles because they go up vertical I put a little post underneath it biscuits okay but when you get to high temperature if you just left it out like this more like let's handle with a completely sunk down flat it's just a softer clay body at high temperatures it's designed to be completely completely watertight and to do that you add more fluxes and more things into it so we could take some of those things out and it wouldn't be so watertight and this would be easier but then it would lose some of its flame wear properties so it's a fine line of making it a workable easy to use clay but also making it flame proof so any spouts and he handles if you had a big tea pot handle on the top it might get a little fluid does anyone here ever do wood firing soda firing assault hiring anything atmospheric okay wadding does not work on this so for those who familiar when you would fire salt fire soda fire anything that has something introduced into the atmosphere if I just set this on the kiln stuff like normal the salt the so2 the wood the ash the heat would glue it to the kiln shelf so it needs something underneath it little balls of clay we call wads it's like if you imagine kiln wash you only added a tiny bit of water and mix it into a clay material if I put three wads underneath it's like a normally would it would hold it up but he would come out you probably have three little dents inside of your clay that's how soft this gets so alumina wax if anyone's never used that the same wax you would use to put on the bottom of your piece and prevent glaze you can buy aluminum ax or you can buy a whole pound of alumina for two dollars and 50 cents and just mix a tablespoon or two into your wax what that does is you wax the bottom of the piece the wax burns away at a couple hundred degrees but the alumina has nowhere to go so it literally picture kiln wash sits in between your piece and the shelf silicon carbide shelves I don't know if anyone's had the issues whether you use porcelain at studios you they can stick same thing here just picture this getting closer to glass than other clays do at that temperature it's gonna be kind of that molten and it can get a little soft or fluid so you have to put some precautions in to make sure to survive there's nothing worse than spending all this time and energy and then it's stuck to a counter little pop free but you have little divots or if you were to wood or soda fire you could run into those same issues I have a feeling we're close on time but I did want to get a couple of questions in and then I can answer anything else so sorry we have one right here first and work away over yes so best temperature coño for i recommend it for anything you're firing doesn't matter if you doing low fire mid fire or high fire nice and slow don't go into the fast just because you got a rush in my opinion no matter what clay you're firing kono 4 is better you're gonna burn out more the impurities in the clay you're gonna shrink it a tiny bit more than you would at Oh five or six or seven and it's a give more room for your glaze to shrink onto it without running it issues and this is all clays for Kohn 10 they're really in my opinion is no firing schedule I have found over the years a fast glaze fire to content if you have an electric kiln will produce your best result on most glazes if you're gonna use the iron glaze which is one of the ones we make here for this clay body iron Glaser's the one exception glazes that contain a high amount of iron if you slow fire them and slow cool them meaning you just let the kiln cool naturally without pulling out peeps are open the lid you'll get more crystals you'll get more color you'll get a brighter but in general slow best okona for I won't won't even do a rampant hold I'll just let's cut or Kohinoor to craft whatever killing got if you do a fast glaze firing to cone 10 or a medium that's a built in program they've designed should work out fine so key is once again just remember to post up anything you think might sag now the same question okay yep little bit more difficult with teapot handle so I have had people fire if they're even and they're like the taller round handles they actually tend to be okay if they've got a little bit lean one way or the other exactly arc is the strongest shape there is that rounded oval shape so the arc should help out it's more like teapot hands when people do this style off the side of the pot anything that's kind of hanging out freely on its own just remember you got to do some support you'll take it out of callable be an upside-down teapot so yeah so technically yes I do recommend if at all possible I always think it's easier and safer to do a bisque fire then do your cone five or cone ten mainly because there's a lot of stages the first time this clay gets fired even if you're only fired 204 which is like 1940 degrees you're burning out a lot of impurities you're going through what's called quartz inversion where the silica and the clay expands when you go up through it and you go down through it I have done firings for people we go straight to cone 5 or straight to cone 10 it tends to be almost the amount of time of doing them both cuz you go super super slowly to one point you can speed up a little bit I found more issues doing that then just do a bisque when it comes out to a cone 10 I have one or two more quick points to make flame where clay does not mix well with others so if you're ever gonna buy this and use it in your own studio or a public studio don't reclaim your slop don't throw it in with everyone else's problematic being someone who gets a bag of changeover clay or leftover clay that they remake and it's got a large amount of flame where the glazes aren't going to fit it quite as well they're gonna run into some of the bad sides of the flame or instead of the good so nice sit-down I throw flame where it's all I do when I'm done everything gets cleaned really well I'll keep it for myself the scraps are recycling making my own but they don't get added into like the large batch of everything else everybody good that's it everyone got the majority of the question so yeah so I've never seen it happen there's a reason in my opinion a lot of studios and a lot of clay shops like ours don't make it as a they're afraid of the liability somebody goes home and the problem is it's not the flame where it's the person making it if they don't follow the rules they leave it's really thin one side thick and the other it's got a foot ring they do all the things they weren't supposed to do you take that teapot and put on your stove and you boil water in it it really still shouldn't explode that's everyone's fear is the grenade of boiling hot water or the grenade of lasagna whatever it is I have had pieces break on me I was doing a workshop firing up stuff and I heard a ping you know like what was that it wasn't till like three days later I saw this hairline crack in the bottom liquid it was like a soup liquid didn't even spill out of it they are designed I hate to say designed to crack but if they do crack they're designed to be able to handle that a lot of people tell you you won't even know this far piece on the very far left is smaller one this is a Seattle pottery supply flamer the smallest little knob a kind of piece of there it's got micro cracks in the bottom you can see yeah I could fill it with water right now to be fine I think the reason as micro cracks is I glaze it which is a heavy iron glaze not necessarily designed for flame where the expansion of the clay and glaze were different and it probably had these fine cracks even just coming out of cone ten flames will find that so I don't think you're really gonna run to the issues I would say follow the rules if anyone's interested anyone to put their name I have three things I'm going to send out the big doc we have something called the eleven rules to treating your flame or the one called the flame where guide line talks about thickness how to bottom alumina wax what to do what glazes use how to burnish all the big things that will give you your best success for flame we're so at some point I definitely recommend grabbing a bag trying it out you'll see a lot of things likewise you keep saying it's weird what's going on this you'll just find it's a little different than other clay bodies it's like if you're just going to use porcelain the first time you like this stuff's great also a little bit terrible all at the same time so that's pretty much it guys I apologize for the not be able to get that handle on but you know you win some you lose some so oh of course yeah you got it [Music]

Channel: Orchard Valley Ceramic Arts Guild

Views: 21,799

Rating: 4.8508472 out of 5

Keywords: ovcag, pottery, clay, ceramics, flameware, cookware

Id: AQ3Co68gxvI

Length: 102min 22sec (6142 seconds)

Published: Fri Aug 02 2019