- Published on
Years ago, when I first shared this demonstration, my intention was to give potters a glimpse into the way I teach porcelain. Since then, my teaching has grown into full online courses, national and international hands-on workshops, workshops in my own studio, and demonstrations—all supported by many more years of working with, teaching, and researching porcelain.
Throughout those years, my belief that successful work with porcelain begins with an understanding of the medium has been reinforced by my success with potters around the world. Understanding what the clay is doing and why it behaves the way it does has opened many doors for potters who tried to work with porcelain but struggled to succeed.
Throughout those years, my belief that successful work with porcelain begins with an understanding of the medium has been reinforced by my success with potters around the world. Understanding what the clay is doing and why it behaves the way it does has opened many doors for potters who tried to work with porcelain but struggled to succeed.
The method I use for throwing tall bottles has been consistently successful. Rather than simply pulling the clay upward and then trying to shape the form, I use the movement of the clay, the positioning of my hands and arms, and controlled pressure to gradually develop the bottle.
The accompanying video shows the process in motion. The steps below explain more of what I am doing and, importantly, why I am doing it.
The accompanying video shows the process in motion. The steps below explain more of what I am doing and, importantly, why I am doing it.
Throwing a Tall Spouted Porcelain Bottle: Step by Step
1. Preparing and Opening the Clay
Prepare your porcelain carefully before you begin. Thorough wedging helps distribute the moisture evenly through the clay, which becomes particularly important when throwing a tall form.
When I center the clay, I begin by creating a dome. The width of this dome already gives me an indication of how wide the bottom of the finished bottle will be.
Once the clay is centered, I open it while keeping a rounded curve in the bottom. This rounded interior gives me the beginning of the flowing curve that I want to carry through the finished form.
Prepare your porcelain carefully before you begin. Thorough wedging helps distribute the moisture evenly through the clay, which becomes particularly important when throwing a tall form.
When I center the clay, I begin by creating a dome. The width of this dome already gives me an indication of how wide the bottom of the finished bottle will be.
Once the clay is centered, I open it while keeping a rounded curve in the bottom. This rounded interior gives me the beginning of the flowing curve that I want to carry through the finished form.
Centering porcelain clay with the coning technique
Once the clay is well centered, I open it while keeping the interior shape rounded.
Make a dent at the base to begin a clay wall that can be pushed upward.
2. Raising the Wall: Push Rather Than Pull
Once the clay is opened, I push a slight dent into the side at the bottom of the pot. This gives me a wall of clay that I can begin moving upward.
I think of this movement as pushing rather than pulling the clay. Notice the direction of my arm as I move the clay upward. This helps me keep the cylinder narrow and encourages the clay to move upward rather than flare outward.
As I continue, I push the wave of clay all the way to the top. I then strengthen the rim by gently compressing the clay back into the wall. I normally repeat this process several times as the form gains height.
With porcelain, I work sparingly with water. Porcelain quickly becomes softer as it absorbs water, and a water-saturated wall loses its integrity and can easily collapse.
Beginning the first lift. I push the clay upward.
My arm and elbow are in a vertical position. I continue moving the clay wave all the way to the rim while keeping the cylinder narrow.
3. Developing the Belly
Once I have enough height, I begin to develop the belly of the bottle. I leave the wall thick enough at this stage so that there is enough clay to expand into the curve without weakening the form.
While making the cylinder, my hands are more or less level with each other on the inside and outside. As I begin developing the belly, their positions shift. My non-dominant hand leads on the outside, slightly above my dominant hand, which pushes from the inside. The outside hand supports and controls the developing curve while the inside hand pushes the wall outward and continues moving the clay upward.
The continuous curve develops gradually, creating the volume of the bottle while maintaining enough strength in the wall for the next stage. I keep the extra clay at the base because it supports the form and helps prevent it from collapsing.
To begin closing the form, the roles of my hands gradually change. The exterior, non-dominant hand takes on a stronger role, pushing the clay inward, while the dominant hand on the inside becomes more supportive. Eventually, the opening becomes too small for my inside hand and both hands begin collaring the clay from the outside.
As the opening narrows, the clay at the rim becomes thicker again. This is the clay I will use to form the spout.
Once I have enough height, I begin to develop the belly of the bottle. I leave the wall thick enough at this stage so that there is enough clay to expand into the curve without weakening the form.
While making the cylinder, my hands are more or less level with each other on the inside and outside. As I begin developing the belly, their positions shift. My non-dominant hand leads on the outside, slightly above my dominant hand, which pushes from the inside. The outside hand supports and controls the developing curve while the inside hand pushes the wall outward and continues moving the clay upward.
The continuous curve develops gradually, creating the volume of the bottle while maintaining enough strength in the wall for the next stage. I keep the extra clay at the base because it supports the form and helps prevent it from collapsing.
To begin closing the form, the roles of my hands gradually change. The exterior, non-dominant hand takes on a stronger role, pushing the clay inward, while the dominant hand on the inside becomes more supportive. Eventually, the opening becomes too small for my inside hand and both hands begin collaring the clay from the outside.
As the opening narrows, the clay at the rim becomes thicker again. This is the clay I will use to form the spout.
The porcelain myth says that the clay must be thrown fast. In reality, using less water, greater precision and a slower throwing speed gives me more control
Refining the rim before the spout is formed makes the process easier.
Hesitation while collaring porcelain—or any clay body—can cause the form to collapse.
4. Forming the Spout
As I continue collaring, the opening becomes smaller and the clay at the top becomes thicker. I now have enough thickness at the rim to begin forming the spout.
At this stage, the bottle has already been worked considerably, and the clay for the spout may be very soft, so there is not much room to use more water. I use a firm but gentle touch and try to work only with the slip that has already accumulated. Unnecessary pressure on the form at this stage can lead to collapse.
Using a collaring action with just my fingertips, I begin pushing the gathered clay upward to create the spout. As the spout becomes narrower, I use my pinkies to guide the clay upward while I continue shaping it. At the same time, I pay attention to the transition between the body and the spout, allowing the curve to flow naturally and lead the eye upward.
If necessary, I cut the rim with a sharp tool to create a clean, even opening.
As I continue collaring, the opening becomes smaller and the clay at the top becomes thicker. I now have enough thickness at the rim to begin forming the spout.
At this stage, the bottle has already been worked considerably, and the clay for the spout may be very soft, so there is not much room to use more water. I use a firm but gentle touch and try to work only with the slip that has already accumulated. Unnecessary pressure on the form at this stage can lead to collapse.
Using a collaring action with just my fingertips, I begin pushing the gathered clay upward to create the spout. As the spout becomes narrower, I use my pinkies to guide the clay upward while I continue shaping it. At the same time, I pay attention to the transition between the body and the spout, allowing the curve to flow naturally and lead the eye upward.
If necessary, I cut the rim with a sharp tool to create a clean, even opening.
Form the spout between fingers.
Keep the touch light and use only fingers to almost "dance" over the clay.
The pinky or a pencil is used to pull the spout taller.
Refining the spout to make it one continuous flowing form.
5. Refining and Evaluating the Complete Form
Now that the bottle and spout are formed, it is time to stand back and observe the piece from a distance. I look to see whether the eye can flow naturally and uninterrupted over the form—from the base, through the belly and shoulder, and upward into the spout.
A soft silicone kidney removes excess slip and throwing ridges and helps me refine the surface. By bending the kidney slightly between my fingers, I allow it to follow the curve rather than alter the form.
The extra clay at the base has served this far to support the bottle, but now I need to remember the rounded interior space that I established when preparing and opening the form. I try to keep the clay walls as even as possible. The interior space dictates what the form can finally become on the exterior. I can therefore begin removing the excess clay at the base, revealing more of the complete silhouette while also preparing the bottle for trimming and the final refinement of the form.
At this point, I am looking at the relationship between all the parts of the form—the base, belly, shoulder and spout. Are the different parts balanced? Is the bottle pleasing to the eye? Does the eye move naturally through the form? The tools are no longer simply helping me throw the clay; they are helping me refine the visual flow of the finished form.
Now that the bottle and spout are formed, it is time to stand back and observe the piece from a distance. I look to see whether the eye can flow naturally and uninterrupted over the form—from the base, through the belly and shoulder, and upward into the spout.
A soft silicone kidney removes excess slip and throwing ridges and helps me refine the surface. By bending the kidney slightly between my fingers, I allow it to follow the curve rather than alter the form.
The extra clay at the base has served this far to support the bottle, but now I need to remember the rounded interior space that I established when preparing and opening the form. I try to keep the clay walls as even as possible. The interior space dictates what the form can finally become on the exterior. I can therefore begin removing the excess clay at the base, revealing more of the complete silhouette while also preparing the bottle for trimming and the final refinement of the form.
At this point, I am looking at the relationship between all the parts of the form—the base, belly, shoulder and spout. Are the different parts balanced? Is the bottle pleasing to the eye? Does the eye move naturally through the form? The tools are no longer simply helping me throw the clay; they are helping me refine the visual flow of the finished form.
The silicone kidney is used to smooth of any access slip and to smooth the walls.
I use only blunt tools on her plaster bat when she removes the clay at the base that previously kept the pot in place.
The base gets special attention where the extra clay was removed to create an elegant base.
The soft Mudtool kidney is used to refine the form.
The bottle is not finished when the throwing is complete. Trimming and refining the form will be the next stage. In the meantime, you can explore some of my other articles and demonstrations about trimming clay and porcelain.
Links:
Trimming Clay Category
Links:
Trimming Clay Category
- Published on
Antoinette is having a discussion with Nancy Jones, one of the workshop participants, while the other potters are working.
Have you heard potters talking about porcelain as if it is the hardest thing in the world to master? Just a few days ago, I saw a fairly renowned potter making the comment that porcelain is “difficult to work with.” I immediately contradicted the potter by telling him that my grandchildren worked with porcelain from the first day they started playing in my studio.
Of course, that is an oversimplification, because everything these, and the many other children who found their way through my studio made was either recycled, or, if it did make it through the kiln, it went through my hands first.
Of course, that is an oversimplification, because everything these, and the many other children who found their way through my studio made was either recycled, or, if it did make it through the kiln, it went through my hands first.
Learning to Understand the Clay Medium
If this potter had said that porcelain is a different medium and that anyone who wants to work with it must first understand how it differs from other types of clay, I would have agreed.
Many potters have tried to work with this diva and given up when they discovered that what goes into the kiln may come out as something very different. Then there are the potters who work with the clay successfully but work with it as if it is a regular stoneware clay body.
Many potters have tried to work with this diva and given up when they discovered that what goes into the kiln may come out as something very different. Then there are the potters who work with the clay successfully but work with it as if it is a regular stoneware clay body.
Altering and the carving of a wheel thrown porcelain pot.
What You’ll discover During the Week
During a week-long workshop in my studio, we begin with an informal visit around some porcelain works that I have collected over the years. We discuss and share some experiences and simply get to know each other. Throughout the week, we use our discussions to build on each potter’s expectations.
In the past, I have had potters with minimal experience with porcelain, but I have also had some with many years of experience. To cater to these potters in a way that allows both to experience a good week of learning is easier than it may sound, because I connect individually with each one and meet them at the level where they are.
Normally, when I get experienced potters, they are ready to push their own limits, but they do not know how. Too often, potters do not ask the “why” questions—something that I had to learn the hard way.
My struggles with porcelain when I started pushing its limits put me in a position where I can bring the knowledge required to my students in a short week of intensive work.
The beauty is that most potters who leave by Saturday have learned way more than they expected, because they learned from each other too.
In the past, I have had potters with minimal experience with porcelain, but I have also had some with many years of experience. To cater to these potters in a way that allows both to experience a good week of learning is easier than it may sound, because I connect individually with each one and meet them at the level where they are.
Normally, when I get experienced potters, they are ready to push their own limits, but they do not know how. Too often, potters do not ask the “why” questions—something that I had to learn the hard way.
My struggles with porcelain when I started pushing its limits put me in a position where I can bring the knowledge required to my students in a short week of intensive work.
The beauty is that most potters who leave by Saturday have learned way more than they expected, because they learned from each other too.
Wheel Throwing and Handbuilding with Porcelain
Normally I have some potters that prefer to hand-build and others that want to work on the wheel. Interestingly enough as the week progress, some potters want to switch and try the opposite techniques. My philosophy is that techniques and styles should never be boxed in. Working on both the wheel and hand-building, open so many more possibilities for each potter and I love that! See, during a week there are opportunities to learn technique, but also to expand our horizons with ideas. Afterall, ceramic art is not just a form of creating; it is a form of communication. When we mastered the craft, we can begin to communicate through it.
Trimming Altering, Carving, and Refining
Altering porcelain is a relatively new concept that became more widely practiced in the 20th century. It requires some knowledge of the behavior of the clay. Prior to that porcelain was considered a practical clay body, used for functional objects.
Simple formed porcelain pots are beautiful, especially when it is translucent and when form and shape is well executed. For that reason, we pay attention to good form, trimming and finishing before we consider altering. From there the carving and refinement follow. By the end of the week each potter take at least one well designed piece of art back home.
Mastering these techniques can become quite emotional for some potters when they realize creating beautiful translucent porcelain objects are within reach! It gives them tools with which they can develop an individualistic style, and it connects with the idea of communicating through the work. Afterall a potters voice is just as strong as that of a sculptor or painting artist.
Simple formed porcelain pots are beautiful, especially when it is translucent and when form and shape is well executed. For that reason, we pay attention to good form, trimming and finishing before we consider altering. From there the carving and refinement follow. By the end of the week each potter take at least one well designed piece of art back home.
Mastering these techniques can become quite emotional for some potters when they realize creating beautiful translucent porcelain objects are within reach! It gives them tools with which they can develop an individualistic style, and it connects with the idea of communicating through the work. Afterall a potters voice is just as strong as that of a sculptor or painting artist.
Altering and carving a large, shallow porcelain bowl.
Learning to Recognize and Solve Porcelain Problems
There are not many ceramic studios that offer porcelain classes; even in colleges opportunities to learn about porcelain are limited. Potters told me before that the instructors are not always equip to teach them to work with porcelain. They are sometimes allowed to work with the material, but then they have to work things out on their own and it is not always successful. During my porcelain classes we make a deep dive into as many of the problems as possible. Potters make those mistakes in the workshop and the whole group learn from that and if we miss something, I encourage my students to stay in touch and share their problems via email. There is always a solution. The key however is that they learn to see the mistake as it happens and obtain the tools to avoid them in future.
Who Is This Workshop For?
If you’re an experienced porcelain potter who want to learn to push your own limits, this class is for you. Maybe you wanted to get your hands in porcelain clay all your life, but you’ve been told that it is too hard; I am sure I will be able to break that fear and all the other myths about porcelain that is out there. Even early beginner potters that know early on that they would want to work with the medium will find this workshop suitable, because I address the most basic principles, something that is often overlooked in a regular pottery class. Also; because the group is small, I can work with each student individually.
Why Learn Porcelain in a Small Hands-On Group?
This image was taken by the end of the workshop when the group were discussing the path forward and Antoinette was answering questions.
Potters attending my workshops comes mostly from across the United States, however I had a few who came from other countries too. Despite the intense training and high volume of information, my workshops are relaxed and potters find themselves forgetting about the world and its problems. Because it is a small group setting, they get to know each other, and I’ve seen several becoming friends. This atmosphere allow potters give their opinions, about the work and to freely ask questions
October 18–24, 2026: A Week to Discover, Develop and Improve Your Skills with Porcelain
I love teaching porcelain workshops.
The knowledge, techniques, and understanding of the medium resonate differently with each person and give them an opportunity to grow in their art. I’ve seen firsthand how potters discover the techniques that suit their style the best.
The love of throwing porcelain is always there, but as they discover that handbuilding, altering, or carving are complementary techniques, excitement for all the different possibilities happens.
Some will finally understand why their porcelain has been giving them problems. And some will simply discover that porcelain isn't as intimidating as they had been told.
For me, that is what a workshop is about—not just making pots for a week, but opening the door to possibilities.
On October 18–24, 2026, I invite you to join me in my studio in Saltillo, Mississippi, for a weeklong hands on workshop. We will be working, learning, experimenting, asking questions, making mistakes, solving problems, and discovering what porcelain can become in your hands.
The knowledge, techniques, and understanding of the medium resonate differently with each person and give them an opportunity to grow in their art. I’ve seen firsthand how potters discover the techniques that suit their style the best.
The love of throwing porcelain is always there, but as they discover that handbuilding, altering, or carving are complementary techniques, excitement for all the different possibilities happens.
Some will finally understand why their porcelain has been giving them problems. And some will simply discover that porcelain isn't as intimidating as they had been told.
For me, that is what a workshop is about—not just making pots for a week, but opening the door to possibilities.
On October 18–24, 2026, I invite you to join me in my studio in Saltillo, Mississippi, for a weeklong hands on workshop. We will be working, learning, experimenting, asking questions, making mistakes, solving problems, and discovering what porcelain can become in your hands.
Interested in joining me in Mississippi?
- Published on
Working With Porcelain: Why It Isn’t Difficult—Just Different
Porcelain is often regarded as a challenging clay body to work with. Potters who attempted it often like the medium, however some give up not understanding how to handle the medium. They perceive it as fragile, finicky, and tedious. However, my challenging personality and years of experience have led me to a different perspective. Today, I advocate for working with porcelain clay. While it is demanding, the rewards and benefits make it all worthwhile.
My Early Journey With Porcelain Clay
My first experiences working with porcelain, was unsuccessful. To make it worse, more experienced potters and instructors intimidated me. In my early days of pottery I created simple forms, fired to cone 8.
Much of my early porcelain work ended up in pit firings. I created incredibly thin porcelain pieces that were fired in pits. These works eventually helped me secure permanent residency for my family and me in the United States.
Those early works evolved into sculptural pit-fired pieces that carried my emotions during a time that I was still griefing the loss of leaving my home country, South Africa.
Eventually, the heaviness lifted. I began seeing light, movement, and ballerinas in sheer dresses in my mind’s eye. Southern Ice porcelain became my medium of joy. Translucency, color, and light became symbols of the future.
Porcelain is often regarded as a challenging clay body to work with. Potters who attempted it often like the medium, however some give up not understanding how to handle the medium. They perceive it as fragile, finicky, and tedious. However, my challenging personality and years of experience have led me to a different perspective. Today, I advocate for working with porcelain clay. While it is demanding, the rewards and benefits make it all worthwhile.
My Early Journey With Porcelain Clay
My first experiences working with porcelain, was unsuccessful. To make it worse, more experienced potters and instructors intimidated me. In my early days of pottery I created simple forms, fired to cone 8.
Much of my early porcelain work ended up in pit firings. I created incredibly thin porcelain pieces that were fired in pits. These works eventually helped me secure permanent residency for my family and me in the United States.
Those early works evolved into sculptural pit-fired pieces that carried my emotions during a time that I was still griefing the loss of leaving my home country, South Africa.
Eventually, the heaviness lifted. I began seeing light, movement, and ballerinas in sheer dresses in my mind’s eye. Southern Ice porcelain became my medium of joy. Translucency, color, and light became symbols of the future.
One of Antoinette Badenhorst’s exquisite sculpted porcelain bowls.
Antoinette Badenhorst’s beautiful, translucent, sculpted porcelain bowl was photographed during a workshop in Simonstown, South Africa.
Porcelain isn’t difficult. It’s different.
Unlike stoneware or earthenware, porcelain is worked as clay but becomes something closer to glass when fired.
Understanding that single truth changes everything about how you handle, design, and fire it.
Unlike stoneware or earthenware, porcelain is worked as clay but becomes something closer to glass when fired.
Understanding that single truth changes everything about how you handle, design, and fire it.
Sometimes, certain cracks are intentionally allowed. In this case, Antoinette Badenhorst stretched the clay over the balloon while it was being made. The bowl edges cracked. She, stopped it from going too far and enhanced the crack to give the bowl an organic appearance.
Why Porcelain Cracks: Understanding the Real Causes
Cracking in porcelain isn’t random—it’s usually caused by handling, design, firing, or glazing mistakes, to name a few. Over the years, I’ve seen every kind of crack imaginable, both in my own studio and in work sent to me by students from around the world through TeachinArt.com.
Let’s break them down.
Cracking in porcelain isn’t random—it’s usually caused by handling, design, firing, or glazing mistakes, to name a few. Over the years, I’ve seen every kind of crack imaginable, both in my own studio and in work sent to me by students from around the world through TeachinArt.com.
Let’s break them down.
S-cracks are easily formed when throwing off the hump. It’s essential to ensure that the bottom of bowls thrown in this manner are compacted properly.
This crack was fixed, however because of the particle alignment, it still shows in the translucent pot.
Handling Cracks in Porcelain: What to Do and What to Avoid
Porcelain becomes extremely fragile as it dries because it contains less clay, than stoneware or earthenware.
Key rule:
Finish shaping and altering porcelain before it passes the leather hard stage.
When porcelain starts changing color as it dries, it’s too late to alter the clay without causing problems.
How to Prevent Handling Cracks
Porcelain becomes extremely fragile as it dries because it contains less clay, than stoneware or earthenware.
Key rule:
Finish shaping and altering porcelain before it passes the leather hard stage.
When porcelain starts changing color as it dries, it’s too late to alter the clay without causing problems.
How to Prevent Handling Cracks
- Trim as soon as the base and rim are evenly moist.
- Be extra careful with rims—they crack under little pressure on the wheel head.
- Handle the semi-dry porcelain carefully. Even if you are successful in fixing a crack, it may show up in translucency.
The cracks in one of Antoinette’s students’ trays were caused by weak particle alignment.
Why Porcelain Handles Crack (And How to Fix It)
Many potters struggle with porcelain handles. The real culprit in most cases is particle orientation.
Clay shrinks in unison only when its particles are aligned and compacted evenly. A handle, unconditionally of the way it is formed, has its own direction of particles, and when you attach it to a mug, it’s like two traffic flows meeting head-on.
You need an off-ramp.
How to Attach Porcelain Handles Successfully
Many potters struggle with porcelain handles. The real culprit in most cases is particle orientation.
Clay shrinks in unison only when its particles are aligned and compacted evenly. A handle, unconditionally of the way it is formed, has its own direction of particles, and when you attach it to a mug, it’s like two traffic flows meeting head-on.
You need an off-ramp.
How to Attach Porcelain Handles Successfully
- Score and wet thoroughly. (remember slip particles are diluted and in disarray!)
- Attach when both parts are equally moist
- Compress and blend the joint well
- Think about handles as foreign objects that must become unified with the form
This is a good example of particles in the handle of a mug that were not aligned with those in the mug wall.
A diagram illustrates the flow of particles when a handle is attached to a porcelain mug.
Preventing Design Cracks in Porcelain Work
Porcelain must be formed evenly. Uneven thickness leads to slumping, tearing, and cracking.
At high temperatures, porcelain becomes pyro plastic — it softens like glass.
Design Tips for Porcelain
Porcelain must be formed evenly. Uneven thickness leads to slumping, tearing, and cracking.
At high temperatures, porcelain becomes pyro plastic — it softens like glass.
Design Tips for Porcelain
- Keep walls consistent in thickness
- Avoid heavy areas attached to thin ones.
- Heavy clay will be drawn towards the kiln shelf and will drag thinner clay along with it.
The glaze applied to the bowl was too thick, causing it to break into two pieces. This is a very clear example of dunting.
The vase’s spout, too heavy for the sheet of clay it was attached to, tore and cracked open.
Firing Cracks and Dunting in Porcelain
Dunting happens when the kiln heats or cools too fast. It can occur in bisque or glaze firing.
If a piece comes out of the kiln split cleanly in two, or cracks days later with sharp, glassy edges—the cooling cycle is usually to blame.
Dunts in bisque ware is not common in porcelain clay, but glaze cracking happens often.
How to Prevent Firing Cracks
Dunting happens when the kiln heats or cools too fast. It can occur in bisque or glaze firing.
If a piece comes out of the kiln split cleanly in two, or cracks days later with sharp, glassy edges—the cooling cycle is usually to blame.
Dunts in bisque ware is not common in porcelain clay, but glaze cracking happens often.
How to Prevent Firing Cracks
- Slow down your firing and especially the cooling schedule
- Pay special attention to cooling around quartz inversion
- Don’t rush porcelain through temperature changes
Over-Glazing: A common Cause of Porcelain Cracks
Too much glaze—especially inside forms—can split porcelain apart.
If glaze pools thickly in the bottom of bowls or vessels, it creates stress during firing.
Glazing Tips for Porcelain
Too much glaze—especially inside forms—can split porcelain apart.
If glaze pools thickly in the bottom of bowls or vessels, it creates stress during firing.
Glazing Tips for Porcelain
- Apply thin, even glaze layers
- Avoid heavy pooling, especially in the interior bottom of thin pots
- Spray glazing is an effective technique for applying glaze to thin porcelain.
This beautiful crystalline plate, exposed to uneven cooling in the kiln, broke into pieces.
Spiral Cracks in Wheel-Thrown Porcelain
There’s a misconception that porcelain must be thrown fast to prevent collapse. In reality, it’s advisable to throw porcelain slowly, with a deliberate focus on compacting the clay particles. Spiral cracks occur when certain clay parts remain misaligned and shrink unevenly. These cracks mostly become visible during the final firing process.
How to Avoid Spiral Cracking
There’s a misconception that porcelain must be thrown fast to prevent collapse. In reality, it’s advisable to throw porcelain slowly, with a deliberate focus on compacting the clay particles. Spiral cracks occur when certain clay parts remain misaligned and shrink unevenly. These cracks mostly become visible during the final firing process.
How to Avoid Spiral Cracking
- Throw slowly and meticulously.
- Compression should be applied uniformly to the entire object, including its interior, exterior, and base, considering both the inside and outside.
- Don’t rush. Form your pot deliberately and carefully.
Is the lack of compression on the interior of the bowl due to insufficient compression, or could it be that the area where the wall and base meet was left wetter than the rest of the bowl?
These are typical spiral cracks that either went unnoticed during the bisque kiln firing or occurred early in the glaze fire.
The sketch depicts a bowl to the left, with clay particles that were not uniformly compressed.
General Tips to Prevent Base and Rim Cracks
- Trim thin porcelain before it gets too dry
- Attach a a sponge bat on the wheel head to trim delicate rims on
- Compact the base inside and out
- Keep wall thickness even throughout
These sketches from Antoinettes porcelain online classes illustrate the various cracks that may develop in porcelain due to uneven drying.
Tiny V-cracks have appeared on one of Antoinette’s students’ bowls. If these cracks are detected in time, they can be repaired.
This plate was subjected to uneven heating and cooling in the kiln, resulting in dunting.
Antoinette Badenhorst, a renowned potter, presents online classes and hands-on workshops worldwide. In 2014, she and her husband, Koos, founded TeachingArt Online School of Art. Together with other experienced and renown teachers, they provide comprehensive online courses for potters and artists globally. These comprehensive learning experiences are meticulously designed to enhance skills, boost confidence, and foster a deeper understanding of pottery, rather than offering mere demonstrations.
This little cup was made by one of Antoinettes students. It looks like the crack was formed during firing. The glaze curls into the crack, therefore this is not dunting from the glaze firing.
The sketch from Antoinettes online classes with TeachinArt illustrates a V-crack that forms when the rim dries more quickly than the base.
This crack is most possibly due to glaze that was too thick for the body.
This crack is related to s-cracks and due to uneven drying.
This crack likely occurred because the base was drying on a non-absorbing bat. Alternatively, it may not have been cut loose from the bat after it was thrown.
If you enjoyed and gained something from this blog post, please share it with your friends. Unfortunately, I won’t be traveling abroad this year because I need to catch up on my studio work and am also writing a book.
Details of my next porcelain workshop is available on the Workshop page
Details of my next porcelain workshop is available on the Workshop page
TAGS
porcelain clay, working with porcelain, porcelain pottery, porcelain cracking, porcelain firing, porcelain handles, wheel thrown porcelain, translucent porcelain, porcelain glazing, how to prevent cracks in porcelain
porcelain clay, working with porcelain, porcelain pottery, porcelain cracking, porcelain firing, porcelain handles, wheel thrown porcelain, translucent porcelain, porcelain glazing, how to prevent cracks in porcelain
- Published on
Antoinette Badenhorst demonstrates just how effortless and enjoyable a quick meal can be. She shows viewers how to whip up a delicious breakfast bowl in the microwave using one of her small porcelain casserole dishes — pieces she has affectionately renamed Brunch-lets.
These single-serve Brunch-lets casseroles are specifically designed for busy people who want a hot, home-cooked meal without the fuss.
Why the Handles Stay Cool While Your Food Gets Hot
One of the most impressive features highlighted in the video is how the porcelain handles remain cool to the touch even after several minutes in the microwave. This happens because Antoinette uses high-fired porcelain with almost no absorption. During the firing process with the making of the casseroles, the clay reaches temperatures high enough to fully vitrify, creating an extremely dense, non-porous material. As a result, the dish doesn’t trap water or moisture, allowing the food to heat evenly and quickly while the handles stay comfortable to hold. The video also thoughtfully highlights the risks of using regular ceramic or porcelain dinnerware in the microwave. Many pieces have porous clay bodies that can absorb and trap water, causing the dish to overheat dangerously while the handles may remain cool. This uneven heating can lead to cracked dishes or even burns.
Porcelain: The Best Choice for Microwave-Safe Dinnerware
Antoinette strongly recommends porcelain — particularly bone china or fine white clay — as the superior medium for durable, high-quality dinnerware. Thanks to its vitrification, true porcelain offers excellent microwave performance, strength, and elegance that lasts for years.Looking ahead, Antoinette plans to dive deeper into clay and glaze chemistry to further improve safety and performance. She acknowledges that technical challenges remain in creating the ideal dinnerware: pieces that are truly chip-resistant, consistently microwave-safe, and of the highest quality.
Beautiful, Practical, and Made for Real Life
The Brunch-let's solve a common problem beautifully. They allow you to prepare everything from savory breakfast bowls and mini casseroles to quick lunches or light dinners in minutes — all in one elegant dish. Because they’re made from premium vitrified porcelain, you can confidently heat your meal and carry it straight to the table without burning your fingers.Whether you’re making eggs, oatmeal, pasta bakes, or reheating leftovers, Brunch-lets deliver food exactly as ordered: perfectly hot, while the dish remains easy and safe to handle. Elegant enough for weekend brunch with friends, practical enough for hectic weekdays.
Ready to upgrade your microwave meals?
Bring Antoinette’s beautiful, high-performance porcelain into your kitchen. These handmade casseroles are the perfect blend of elegance and everyday practicality.
Contact Antoinette for if you are interested in getting this for your kitchen.
One of the most impressive features highlighted in the video is how the porcelain handles remain cool to the touch even after several minutes in the microwave. This happens because Antoinette uses high-fired porcelain with almost no absorption. During the firing process with the making of the casseroles, the clay reaches temperatures high enough to fully vitrify, creating an extremely dense, non-porous material. As a result, the dish doesn’t trap water or moisture, allowing the food to heat evenly and quickly while the handles stay comfortable to hold. The video also thoughtfully highlights the risks of using regular ceramic or porcelain dinnerware in the microwave. Many pieces have porous clay bodies that can absorb and trap water, causing the dish to overheat dangerously while the handles may remain cool. This uneven heating can lead to cracked dishes or even burns.
Porcelain: The Best Choice for Microwave-Safe Dinnerware
Antoinette strongly recommends porcelain — particularly bone china or fine white clay — as the superior medium for durable, high-quality dinnerware. Thanks to its vitrification, true porcelain offers excellent microwave performance, strength, and elegance that lasts for years.Looking ahead, Antoinette plans to dive deeper into clay and glaze chemistry to further improve safety and performance. She acknowledges that technical challenges remain in creating the ideal dinnerware: pieces that are truly chip-resistant, consistently microwave-safe, and of the highest quality.
Beautiful, Practical, and Made for Real Life
The Brunch-let's solve a common problem beautifully. They allow you to prepare everything from savory breakfast bowls and mini casseroles to quick lunches or light dinners in minutes — all in one elegant dish. Because they’re made from premium vitrified porcelain, you can confidently heat your meal and carry it straight to the table without burning your fingers.Whether you’re making eggs, oatmeal, pasta bakes, or reheating leftovers, Brunch-lets deliver food exactly as ordered: perfectly hot, while the dish remains easy and safe to handle. Elegant enough for weekend brunch with friends, practical enough for hectic weekdays.
Ready to upgrade your microwave meals?
Bring Antoinette’s beautiful, high-performance porcelain into your kitchen. These handmade casseroles are the perfect blend of elegance and everyday practicality.
Contact Antoinette for if you are interested in getting this for your kitchen.
Examples of Antoinettes brunchlets
Defining Brunchlets:
Antoinette came up with the fun name “brunch-lets” for these little casserole dishes—they’re so much more than just egg cookers! These bowls are perfect for making a full breakfast, lunch, or a quick snack for one person.
Antoinette came up with the fun name “brunch-lets” for these little casserole dishes—they’re so much more than just egg cookers! These bowls are perfect for making a full breakfast, lunch, or a quick snack for one person.
One of Antoinettes earliest brunchlets, resembling an egg cooker.
Cup-sized brunchlets with long handle, large enough for a single meal in the microwave.
Cup sized brunchlet with two handles like a regular casserole dish, suitable for the microwave.
What are the primary distinctions between hard-paste porcelain, soft-paste porcelain, and bone china?
Kinds of porcelain
Historically, there are three types of porcelain: hard-paste porcelain, soft-paste porcelain, and bone china.
Hard-paste porcelain is made from clay that becomes glass-like when vitrified. It primarily consists of kaolin, silica, and Feldspar. The firing temperature of the clay depends on the temperature range of the Feldspar, and it is typically fired between 1200-1400 °C.
Antoinette, a renowned potter, teaches many potters worldwide in either online or hands-on classes to work with porcelain clay.
Soft-paste porcelain was developed in Europe during the time alchemists were searching for porcelain, which was originally imported from China. It was made from fine clay, sand, and glass. Unlike earthenware, soft-paste porcelain does not withstand high temperatures and will begin to collapse before reaching vitrification. It was often used for making ornaments.
Bone china was developed in England when cattle bones were used to enhance the properties of soft-paste porcelain. The result was a very dense, strong, and glass-like, white, and translucent material. Historically, bone china contained 25% clay (kaolin), 50% bone ash, and 25% Cornish stone. In modern times, bones are replaced with a synthetic calcium phosphate, specifically dicalcium phosphate or tricalcium phosphate, which serve as powerful fluxes. Some artists, such as John Shirley, create artistic bone china bowls. Most people recognize bone china as the dishes displayed on their grandmother’s special shelf, commonly referred to as “chinaware.”
There are other porcelain types that came along later, like Belleek porcelain, which is still crafted in Belleek, Ireland. America really helped shape this porcelain, and I’m writing about it in my book that’s still in progress. Also, there’s parianware, which is a different kind of porcelain made to be used without glaze, which I addressed in one of my Ceramic Monthly articles. Curtis Benzle creates his own version, so he can leave his sculpted bowls unglazed.
Historically, there are three types of porcelain: hard-paste porcelain, soft-paste porcelain, and bone china.
Hard-paste porcelain is made from clay that becomes glass-like when vitrified. It primarily consists of kaolin, silica, and Feldspar. The firing temperature of the clay depends on the temperature range of the Feldspar, and it is typically fired between 1200-1400 °C.
Antoinette, a renowned potter, teaches many potters worldwide in either online or hands-on classes to work with porcelain clay.
Soft-paste porcelain was developed in Europe during the time alchemists were searching for porcelain, which was originally imported from China. It was made from fine clay, sand, and glass. Unlike earthenware, soft-paste porcelain does not withstand high temperatures and will begin to collapse before reaching vitrification. It was often used for making ornaments.
Bone china was developed in England when cattle bones were used to enhance the properties of soft-paste porcelain. The result was a very dense, strong, and glass-like, white, and translucent material. Historically, bone china contained 25% clay (kaolin), 50% bone ash, and 25% Cornish stone. In modern times, bones are replaced with a synthetic calcium phosphate, specifically dicalcium phosphate or tricalcium phosphate, which serve as powerful fluxes. Some artists, such as John Shirley, create artistic bone china bowls. Most people recognize bone china as the dishes displayed on their grandmother’s special shelf, commonly referred to as “chinaware.”
There are other porcelain types that came along later, like Belleek porcelain, which is still crafted in Belleek, Ireland. America really helped shape this porcelain, and I’m writing about it in my book that’s still in progress. Also, there’s parianware, which is a different kind of porcelain made to be used without glaze, which I addressed in one of my Ceramic Monthly articles. Curtis Benzle creates his own version, so he can leave his sculpted bowls unglazed.
This porcelain casserole dish, designed by Antoinette Badenhorst, is great for microwaving and, under specific conditions, can also be used in the oven. Antoinette is also a porcelain instructor at TeachinArt.com
John Shirley, a teacher at TeachinArt.com, makes beautiful bone china vessels by painting them with soluble salts to create vibrant colors.
Curtis Benzle, a teacher at TeachinArt.com, has created a porcelain piece that’s quite similar to parianware. He’s also using the Japanese Nericomi techniques to bring out the luminosity and color in his work.
Clarifying some terminology
Vitrification
Porcelain turns into vitrified glass when it’s fired for a long time at a high temperature, which fuses the clay particles into a dense, non-porous material. When the clay has a .01% imperviousness, it becomes food safe. This glassy bond keeps liquids from seeping into the handles, so there’s no steam buildup that can burn your hands when you use it in the microwave.
Besides making it microwave-friendly, this also makes it more durable because steam inside the walls of pottery can shorten its lifespan.
Just a heads-up, porcelain can get pretty hot, as the heat from your food will transfer to the bowl or cup. That’s why handles are so important—they let you grab it safely from the microwave.
Water absorption in clay
If your pottery isn’t watertight, it might mean it needed a higher firing temperature to make sure the clay particles fusetogether. Or, if it was fired at a lower temperature, the melting agents (fluxes) should have melted at a lower temperature too. If the glaze doesn’t fit perfectly, liquids can also sneak into the clay. You might see tiny cracks on the ceramic container. When liquid seeps into the clay walls, it can take ages to dry out. So, if you use it in the microwave, steam might escape and burn your hands. Also, if you wash it in a dishwasher, harsh chemicals could damage it. The real danger comes when bad bacteria from dirty dishwater gets into the clay walls.
Bone China Versus Porcelain
Bone China, because it is not plastic enough, needs to be slip cast, while all pottery techniques can be used to create porcelain.
Recipe for Creme Brûlée in a brunchlet:
Enough for 4 servings:
3 large eggs
3 table spoons of sugar
3/4 cup of cream
1 teaspoon Vanilla essens
A pinch of salt
Instructions:
Mix all ingredients together and divide in 4 brunchlets
Place in the microwave for 45 seconds. Stir and put back for another 30-45 seconds ( different microwaves will cook differently)
Sprinkle sugar or spread a jelly of your choice on top. Place under broiler until golden brown.
Enough for 4 servings:
3 large eggs
3 table spoons of sugar
3/4 cup of cream
1 teaspoon Vanilla essens
A pinch of salt
Instructions:
Mix all ingredients together and divide in 4 brunchlets
Place in the microwave for 45 seconds. Stir and put back for another 30-45 seconds ( different microwaves will cook differently)
Sprinkle sugar or spread a jelly of your choice on top. Place under broiler until golden brown.
Tags:
#porcelain #ceramic #pottery #clay #pottersofinstagram #vitrified #kiln #clayart #potterylife #ceramicstudio #hardpasteporcelain #bonechina #parianware #glazechemistry #handmadeceramics #brunch-let #vitrificationinclay #Waterabsorption #
#microwavecooking #microwaveSafe #kitchenhacks #brunchlets #breakfastbowl #oatmealbowl #microwavemeals #easybreakfast #safeDinnerware #kitchenSafety
#potteryclasses #antoinette #ceramicmonthly #tablescape #homedecor #functionalart #interiordesign
#porcelain #ceramic #pottery #clay #pottersofinstagram #vitrified #kiln #clayart #potterylife #ceramicstudio #hardpasteporcelain #bonechina #parianware #glazechemistry #handmadeceramics #brunch-let #vitrificationinclay #Waterabsorption #
#microwavecooking #microwaveSafe #kitchenhacks #brunchlets #breakfastbowl #oatmealbowl #microwavemeals #easybreakfast #safeDinnerware #kitchenSafety
#potteryclasses #antoinette #ceramicmonthly #tablescape #homedecor #functionalart #interiordesign
- Published on
Porcelain, often referred to as the diva of clay due to its captivating beauty, translucency, and sensual allure, is the focus of this online course. Designed to empower potters, this course aims to facilitate a seamless transition from the crafting of stoneware or earthenware to the creation of refined porcelain forms. Through this comprehensive program, students will not only acquire the necessary techniques but also delve into the underlying reasons behind each step, enabling them to fully comprehend and master this exquisite material.
Watch: Introduction to the Porcelain Online Course
Understanding Porcelain: Building a Relationship with the Diva of Clay.
Porcelain has long carried a reputation—beautiful, refined, and notoriously difficult. For many potters, it’s the “diva of clay.” But what if the challenge isn’t something to fear, but rather an invitation to understand? In this preview of Antoinette Badenhorst’s Understanding Porcelain online course with TeachinArt, viewers are given a glimpse into a process rooted in knowledge, sensitivity, and relationship-building with the material.The lesson begins with a simple yet powerful visual: a schematic sketch illustrating how clay particles move during the bull’s head wedging method.
This foundational concept reveals something essential—porcelain is not just a material you shape, but one you must align and work with on a structural level.From there, Antoinette moves to the wheel, demonstrating how to refine and thin a thrown bowl using pottery ribs. Her preferred tools—silicone ribs from Mudtools in North Carolina—allow for both control and finesse, helping guide the clay into elegant, even forms. Once the bowl becomes leatherhard, she flips it to begin trimming. Using a loop tool followed by a metal kidney, she carefully removes excess clay, achieving a delicate translucency that defines fine porcelain work. This stage requires not only technical skill but also an intuitive understanding of the clay’s limits.Throughout the video, examples of her sculpted and altered porcelain bowls appear—each one pushing the boundaries of thinness and light. In some pieces, she carves into already refined walls, enhancing their luminosity and allowing light to pass through in subtle, breathtaking ways.
But beyond technique, what truly sets this course apart is Antoinette’s philosophy. She compares the first experience with porcelain to a handshake. It’s an introduction—an initial meeting where you begin to sense character, resistance, and possibility. Just as with people, understanding develops over time. The more you learn about porcelain’s behavior—its strengths, tediousness, and responses—the more successful and confident you become in working with it. This course is not just about making objects. It’s about shifting your mindset. Instead of fighting porcelain, you begin to collaborate with it. Through detailed instruction, thoughtful demonstrations, and years of experience, Antoinette offers more than techniques—she offers clarity. Whether you are new to porcelain or looking to refine your skills, Understanding Porcelain opens the door to a deeper, more rewarding relationship with this extraordinary clay body. If you’ve ever felt intimidated by porcelain, this is your opportunity to move past fear and into understanding—one thoughtful step, and one refined gesture, at a time.
This foundational concept reveals something essential—porcelain is not just a material you shape, but one you must align and work with on a structural level.From there, Antoinette moves to the wheel, demonstrating how to refine and thin a thrown bowl using pottery ribs. Her preferred tools—silicone ribs from Mudtools in North Carolina—allow for both control and finesse, helping guide the clay into elegant, even forms. Once the bowl becomes leatherhard, she flips it to begin trimming. Using a loop tool followed by a metal kidney, she carefully removes excess clay, achieving a delicate translucency that defines fine porcelain work. This stage requires not only technical skill but also an intuitive understanding of the clay’s limits.Throughout the video, examples of her sculpted and altered porcelain bowls appear—each one pushing the boundaries of thinness and light. In some pieces, she carves into already refined walls, enhancing their luminosity and allowing light to pass through in subtle, breathtaking ways.
But beyond technique, what truly sets this course apart is Antoinette’s philosophy. She compares the first experience with porcelain to a handshake. It’s an introduction—an initial meeting where you begin to sense character, resistance, and possibility. Just as with people, understanding develops over time. The more you learn about porcelain’s behavior—its strengths, tediousness, and responses—the more successful and confident you become in working with it. This course is not just about making objects. It’s about shifting your mindset. Instead of fighting porcelain, you begin to collaborate with it. Through detailed instruction, thoughtful demonstrations, and years of experience, Antoinette offers more than techniques—she offers clarity. Whether you are new to porcelain or looking to refine your skills, Understanding Porcelain opens the door to a deeper, more rewarding relationship with this extraordinary clay body. If you’ve ever felt intimidated by porcelain, this is your opportunity to move past fear and into understanding—one thoughtful step, and one refined gesture, at a time.
Carving, translucency, and glaze transforms functional pottery into expressive ceramic art.
The interaction between light, shadow, and form, emphasizing the sculptural qualities unique to porcelain.
Translucent Porcelain: Light, Form, and Precision
What Students Learn in This CourseStudents develop a complete porcelain workflow, including:
- Understanding porcelain clay characteristics
- Pinching and hand-forming techniques
- Wheel throwing thin translucent forms
- Trimming and refining porcelain surfaces
- Design principles specific to porcelain
- Glazing and firing porcelain successfully
- Preventing cracks, slumping, and firing defectsBy the end of the course, potters gain the technical knowledge and confidence to create refined porcelain forms independently.
Begin Your Porcelain Journey. This online porcelain course is suitable for:
- Beginner potters transitioning to porcelain
- Intermediate potters refining porcelain skills
- Advanced ceramic artists pursuing translucency and precision
online porcelain class, porcelain pottery, learn porcelain, porcelain techniques, ceramic education, porcelain for beginners, advanced porcelain techniques, translucent porcelain, wheel throwing porcelain, pinching porcelain, trimming porcelain, glazing porcelain,
firing porcelain, ceramic workshops online, pottery classes online, ceramic art education, porcelain pottery course, ceramic design, pottery skills development, porcelain by Antoinette Badenhorst
firing porcelain, ceramic workshops online, pottery classes online, ceramic art education, porcelain pottery course, ceramic design, pottery skills development, porcelain by Antoinette Badenhorst
- Published on
Working with porcelain clay may scare you in the beginning but once you've learned how porcelain differs from other clay mediums, you will be hooked and really enjoy to work with it.
A note from Antoinette:
During those early days of presenting workshops globally, my English language skills were still developing. Although I still occasionally struggle to find my words in English, my proficiency has improved significantly, which I am very grateful for. Growing up and even as a young adult, despite being exposed to English, Afrikaans was our main language.
During those early days of presenting workshops globally, my English language skills were still developing. Although I still occasionally struggle to find my words in English, my proficiency has improved significantly, which I am very grateful for. Growing up and even as a young adult, despite being exposed to English, Afrikaans was our main language.
Hand building porcelain can be as easy or as intricate as a potter wants to do it. Antoinette likes to use translucency in her sculpted porcelain bowls. She use any clay technique to create her ceramic art.
Antoinette shares some of her porcelain secrets in this behind-the-scenes look at one of her first porcelain workshops in Canada. She shows how you can take a leather-hard porcelain bowl and safely bring it back to a soft, workable state—then reshape or sculpt it into a beautiful new form.
You’ll see how she creates a press mold and turns it into a bowl, while explaining why it’s important for potters to truly understand porcelain as a material and build a relationship with it.
Antoinette likes to call porcelain a “diva” 😄 because it has its own personality and needs to be handled with care. She even touches on the history of porcelain to help explain its unique characteristics.
The video features highlights from her hands-on workshop, where she teaches both handbuilding and wheel-throwing techniques. Since that first workshop, Antoinette has gone on to teach porcelain classes around the world
You’ll see how she creates a press mold and turns it into a bowl, while explaining why it’s important for potters to truly understand porcelain as a material and build a relationship with it.
Antoinette likes to call porcelain a “diva” 😄 because it has its own personality and needs to be handled with care. She even touches on the history of porcelain to help explain its unique characteristics.
The video features highlights from her hands-on workshop, where she teaches both handbuilding and wheel-throwing techniques. Since that first workshop, Antoinette has gone on to teach porcelain classes around the world
Orange press molded porcelain bowl, envelope formed on a wheel thrown pedestal.
Chartreuse green press molded porcelain bowl, envelope formed on a wheel thrown pedestal.
Antoinette's porcelain classes whether it is online or hands-on is loaded with explanations and tips and is suitable for beginner to advanced potters. She provides a variety of porcelain tips and compare them with regular pottery techniques. Her workshops are normally a mix between wheel throwing and hand building techniques. See Antoinettes Ceramic Workshops
Tags:
#PorcelainSecrets, #WorkingWithPorcelain, #PorcelainClay, #CeramicTechniques, #PotteryTips, #HandbuildingCeramics, #WheelThrowing, #PorcelainWorkshop, #CeramicArtist, #PorcelainByAntoinette, #AntoinetteBadenhorst, #StudioPottery, #ClayLife, #CeramicsEducation
#PorcelainSecrets, #WorkingWithPorcelain, #PorcelainClay, #CeramicTechniques, #PotteryTips, #HandbuildingCeramics, #WheelThrowing, #PorcelainWorkshop, #CeramicArtist, #PorcelainByAntoinette, #AntoinetteBadenhorst, #StudioPottery, #ClayLife, #CeramicsEducation
- Published on
Potters learn in this online workshop all about coiling, slabs, mold making and use the character and history of porcelain to push their own limits. The art students learn which tools are best for trimming clay, learn about design and extruding and learn how to control the drying stages of porcelain to get to translucency.
Image: This translucent porcelain envelope was formed from two press molded shells, altered and carved and then placed on a wheel thrown pedestal.
Presented by Antoinette Badenhorst
Discover the expressive possibilities of porcelain in this in‑depth online handbuilding workshop led by internationally recognized ceramic artist Antoinette Badenhorst. Designed for both emerging and experienced clay artists, this course demystifies the unique behavior of porcelain and teaches you how to shape it with confidence.
Through clear demonstrations, detailed explanations, and Antoinette’s signature teaching style, you’ll learn how to:
Join Antoinette at TeachinArt and experience porcelain in a whole new way—flexible, accessible, and guided by one of the leading voices in contemporary ceramics.
Discover the expressive possibilities of porcelain in this in‑depth online handbuilding workshop led by internationally recognized ceramic artist Antoinette Badenhorst. Designed for both emerging and experienced clay artists, this course demystifies the unique behavior of porcelain and teaches you how to shape it with confidence.
Through clear demonstrations, detailed explanations, and Antoinette’s signature teaching style, you’ll learn how to:
- Understand the working properties of porcelain and how they differ from other clays
- Build strong, elegant forms using handbuilding techniques
- Control drying, trimming, and finishing to avoid common porcelain challenges
- Create refined functional and sculptural pieces with precision and artistry
- Apply surface treatments that enhance porcelain’s natural translucency and beauty
Join Antoinette at TeachinArt and experience porcelain in a whole new way—flexible, accessible, and guided by one of the leading voices in contemporary ceramics.
- Published on
In this hand building dinnerware workshop Antoinette teaches students about microwave safety, how to design for dish washer safety, how to make mugs, goblets, what to consider when making handles and knobs, decanters without using a potter's wheel. Learn how to alter porcelain bowls, plates and pitchers and shows how to make the spout without spilling. Students learn how to hand make trays with salt and pepper shakers.
This workshop guides ceramic artists through the complete journey of designing and handbuilding cohesive dinnerware sets—plates, bowls, and serving pieces—while working with the demanding yet rewarding nature of porcelain. Emphasis is placed on control, precision, and understanding the material’s unique qualities, including its translucency, strength, and sensitivity at every stage.
Students explore slab-building techniques, forming methods, drying control, and finishing processes that prevent warping and cracking. Special attention is given to creating refined rims, balanced forms, and consistent sets that elevate everyday use into a sophisticated visual and tactile experience.
From forming to final firing, the course highlights how craftsmanship and thoughtful design come together, allowing artists to produce luminous, durable dinnerware that reflects both technical excellence and a distinctive artistic voice.
There are a few things to consider when forming a spout. Whether it is of a jug that is hand built with porcelain or thrown on the potters wheel, these simple considerations will help to pour liquid easily without spilling.
This workshop guides ceramic artists through the complete journey of designing and handbuilding cohesive dinnerware sets—plates, bowls, and serving pieces—while working with the demanding yet rewarding nature of porcelain. Emphasis is placed on control, precision, and understanding the material’s unique qualities, including its translucency, strength, and sensitivity at every stage.
Students explore slab-building techniques, forming methods, drying control, and finishing processes that prevent warping and cracking. Special attention is given to creating refined rims, balanced forms, and consistent sets that elevate everyday use into a sophisticated visual and tactile experience.
From forming to final firing, the course highlights how craftsmanship and thoughtful design come together, allowing artists to produce luminous, durable dinnerware that reflects both technical excellence and a distinctive artistic voice.
There are a few things to consider when forming a spout. Whether it is of a jug that is hand built with porcelain or thrown on the potters wheel, these simple considerations will help to pour liquid easily without spilling.
Hand building a porcelain decanter from slabs. Hand building porcelain dinnerware with Antoinette online.
- Published on
Potters will get the opportunity to pinch a teapot. They will make 2 cups and a tray and finish it off professionally.
The Pinching Teapots for Beginners Online Workshop by Antoinette Badenhorst at TeachinArt introduces the art of teapot making through one of the most direct and accessible handbuilding techniques—pinching. Designed for beginners, this workshop guides students step-by-step in forming teapots by hand, without the need for a pottery wheel. Starting with simple pinch pots, participants learn how to shape and refine the teapot body, then add and integrate essential elements such as the spout, lid, and handle.
The course emphasizes understanding clay behavior, wall thickness, and proper joining techniques to ensure both strength and functionality. Students also explore proportion, balance, and basic design principles, ensuring their teapots not only function well but also have a pleasing aesthetic. With clear demonstrations and practical guidance, this workshop builds confidence in handbuilding while introducing the fundamentals of creating a complete, functional teapot—making it an ideal entry point into the world of ceramics.
The Pinching Teapots for Beginners Online Workshop by Antoinette Badenhorst at TeachinArt introduces the art of teapot making through one of the most direct and accessible handbuilding techniques—pinching. Designed for beginners, this workshop guides students step-by-step in forming teapots by hand, without the need for a pottery wheel. Starting with simple pinch pots, participants learn how to shape and refine the teapot body, then add and integrate essential elements such as the spout, lid, and handle.
The course emphasizes understanding clay behavior, wall thickness, and proper joining techniques to ensure both strength and functionality. Students also explore proportion, balance, and basic design principles, ensuring their teapots not only function well but also have a pleasing aesthetic. With clear demonstrations and practical guidance, this workshop builds confidence in handbuilding while introducing the fundamentals of creating a complete, functional teapot—making it an ideal entry point into the world of ceramics.
- Published on
This video of Antoinette was recorded during her hands-on workshop at the Pottery Studio in Bryanston in South Africa. She shows how to throw a big porcelain bowl on the pottery wheel, add more clay to it, cut and carve it and alter it to get translucency.
Antoinette's Gallery, hands-on workshops and e-courses
All our e-courses at TeachinArt.com online art school
See Antoinette's blog index
All our e-courses at TeachinArt.com online art school
See Antoinette's blog index
Archives
- August 2026 (2)
- January 2026 (17)
- December 2025 (4)
- November 2025 (3)
- October 2025 (3)
- September 2025 (3)
- August 2025 (3)
- July 2025 (2)
- June 2025 (1)
- April 2025 (1)
- March 2025 (3)
- February 2025 (2)
- January 2025 (1)
- December 2024 (1)
- November 2024 (1)
- October 2024 (1)
- September 2024 (1)
- August 2024 (1)
- July 2024 (2)
- June 2024 (1)
- May 2024 (1)
- April 2024 (2)
- March 2024 (1)
- February 2024 (1)
- January 2024 (1)
- December 2023 (1)
- November 2023 (1)
- October 2023 (1)
- September 2023 (1)
- March 2022 (1)
- July 2021 (1)
- June 2021 (1)
- May 2021 (4)
- February 2021 (1)
- January 2021 (1)
- September 2020 (2)
- June 2020 (1)
- May 2020 (1)
- March 2020 (1)
- February 2020 (2)
- January 2020 (1)
- December 2019 (1)
Categories
- Agateware (1)
- Alternative Firing (1)
- Art In Schools (2)
- Art Packaging (1)
- Balloon Vessels (1)
- Begin A Pottery Business (3)
- Carving Clay (3)
- Centering Clay (1)
- Clay Flute (1)
- Clay Slabs (1)
- Coils & Slabs (1)
- Colored Clay (2)
- Cracks In Pottery (2)
- Decorating (1)
- Destruction-of-art (1)
- Dinnerware (3)
- Faults & Remedies (2)
- Figurines (1)
- Functional Pottery (1)
- Glazes (7)
- Grants & Fellowships (1)
- Interviews (18)
- Kilns & Firing (2)
- Kitchenware (1)
- Michael Schwegmann (2)
- Neriage (1)
- Ocarina (1)
- Painting (2)
- Paper Clay (2)
- Pinching Clay (2)
- Plaster Bats (1)
- Porcelain Bottles (1)
- Porcelain Tips (4)
- Porcelain Workshop (6)
- Pottery In Pretoria (1)
- Pottery Studio (6)
- Salt In The Pitfire (1)
- Soluble Salts (1)
- Teapot (2)
- Teapots (2)
- Trimming Clay (3)
- Understanding Porcelain (4)
- Wedging Clay (1)
- Wheel Throwing (13)
- Workshops (1)