Transer 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 beore.
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. Ater 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 eect on and around the textured slab.When making numerous pieces to assemble, monitorthem careully. 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 interace 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