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Ewer Bizarre

Ewer Bizarre

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Published by Stefan Van Cleemput

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Published by: Stefan Van Cleemput on Sep 14, 2012
Copyright:Attribution Non-commercial


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PotteryMaking Illustrated
March/April 2007
tudents oten ounder oncethey get past centering andopening—hypnotized, I’m con-vinced, by the ever-wideningspiral. As a way to get around look-ing at the same bowls or such a longtime, here’s an assignment that’s sureto start students on a journey into therealm o orm. This assignment startswith the class standing up and shout-ing, “Down with round brown!”, thenwe discuss parameters. The wheel maybe used to create part o the piece, butthe orientation o what comes o thewheel must be changed. For spice, wemix an exploration o texture into therecipe. Advanced throwing skills arenot required.
 A Basic Form
Here’s how I made some recent ew-ers (I also use a similar set o instruc-tions to make the ‘urniture’ these potssit on). Throw a bottomless ring andpull it up at least our inches high. Iusually make 8 to 12 o these piecesat a time near the end o the day. Startwith something between 6 to 8 inches
“Ewer Bizarre,” 9 inches in height, red to cone 7 fat in an electric kiln then cooled to1500°F and held or 30 minutes, which encourages microcrystalline activity in some othe glazes used.
   P    h   o   t   o   s   t    h   i   s   p   a   g   e    b   y   H   a   r   r   i   s   o   n   E   v   a   n   s .
by Annie Chrietzberg 
“Trick Poodle Ewer,” 8 inches inheight. Variations are endlesswith this basic orm.
Escape from the wheelhead
PotteryMaking Illustrated
March/April 2007
   P    h   o   t   o   s   o       s   t   e   p   s    b   y   D   o   n   n   a   C    h   r   i   e   t   z    b   e   r   g .
Throw a bottomless ring andpull it up to the desired height.Rib or create texture as desired.
Use a needle tool to make acut-o line while the ring isstill round.
Drizzle water into the center andslide a cut-o wire, dragging thewater under the walls.
Push the ring rom the outsidewith a dowel, while supportingthe inside with your hand.
Cut along the line and removethe rim. Gently reorm the curvei necessary.
Make a slab and smooth it witha sot rib.
Careully lay the slab on a tex-tured surace. Apply cornstarch to the surace to prevent sticking.
Roll the slab onto the texturecareully and evenly. Then lit it o and set aside.
Score deeply, apply slip, thenscore and slip again to create adenite interace.
PotteryMaking Illustrated
March/April 2007
Transer the shape o the rimto the textured slab by placingthe slab on the rim.
Remove the slab and cut out-side o the slip line. Removethe excess clay.
Shape, score and apply slipto the slab, then place it onthe orm.
 Nudge the slab into placeand press down on it whilesmoothing the sides.
 Cut o the bat, protect thetexture with oam, place a baton top, then fip the orm over.
 Cut o the rim and attachthe second side using thesame method as beore.
in diameter—it should be big enough to get your handsin, but not so big that you become bogged down withtechnical considerations, such as supports and dryingschedules. I put deep ridges in my thrown rings, butyou can create any texture you wish.With a needle tool, make a line to ollow later whencutting. Next, use a sponge to drizzle water into thering so that when you use the cutting wire, it pulls thewater with it, allowing the walls to oat a bit and tomove reely. Ater cutting the ring rom the wheelhead,use a dowel to move the clay. The dowel provides evenpressure and movement rom top to bottom. Clean upthe bat, removing traces o the original ring and all thewater, then lightly cover the altered ring with plasticand allow it to set up overnight.The next day I uncover the altered rings and pairthem up (i I’m making oil and vinegar sets), and dis-card any shapes that aren’t interesting. I pound out andtexture the slabs with a specifc orientation or the pat-tern I have in mind, making extra copies o each. Thatway, when I’m setting up the sides, i I make a mistakewith orientation o pattern and cut incorrectly, I haveanother copy ready. Next, I cut o the rim. The rimcan either be discarded or saved and added later tocreate a bezel eect on and around the textured slab.When making numerous pieces to assemble, monitorthem careully. As they become dry enough to handlewithout distortion, wrap them in plastic or place themin plastic boxes with damp sponges to encourage themto linger in their workable state.To assemble, score deeply, apply slip, then score andslip again to create a defnite interace between thepieces you’re joining. The key to creating pots thatlook resh rather than belabored is to handle them aslittle as possible. I only touch the wet, malleable claywhen necessary. For example, i I need to turn a pieceover, rather than picking it up with my hands, I havea wide selection o oam pads and wareboards that Iuse to ip them. I I damage a piece while handling it, Ialso have a selection o cheap pencil erasers that I can

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