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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
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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
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Throwing porcelain dinner sets include the design considerations, throwing and trimming on the wheel, altering processes as well as glazing mixing and firing considerations. Students learn how to make different mug shapes, goblets, tumblers. Antoinette teaches how to make pie dishes, different bowls like cereal and salad bowls, plates, platters and lidded casseroles. She explains how to prevent cracks and hand out many tips and techniques.
Image:Learn how to create fine translucent wine goblets on a pottery wheel.
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In her porcelain workshops at TeachinArt, Antoinette Badenhorst demonstrates how excessive water during wheel throwing can quickly cause porcelain clay - which she calls the “Diva of Clay” - to weaken and collapse.
Porcelain requires careful moisture control because of its fine particle structure and delicate balance between strength and softness. During wheel throwing, too much water can oversaturate the clay body, reducing stability and making walls soft, uneven, or unable to support their own weight.
Antoinette explains how beginners often rely on excess water while centering and pulling clay, not realizing that porcelain absorbs moisture rapidly. As the clay becomes overly saturated, forms begin to slump, lose definition, or completely collapse on the wheel.
In her demonstrations, students learn:
Through detailed online instruction, Antoinette helps potters understand not only how porcelain behaves, but why proper technique is essential for successful wheel-thrown ceramics.
Porcelain requires careful moisture control because of its fine particle structure and delicate balance between strength and softness. During wheel throwing, too much water can oversaturate the clay body, reducing stability and making walls soft, uneven, or unable to support their own weight.
Antoinette explains how beginners often rely on excess water while centering and pulling clay, not realizing that porcelain absorbs moisture rapidly. As the clay becomes overly saturated, forms begin to slump, lose definition, or completely collapse on the wheel.
In her demonstrations, students learn:
- How to control water usage while throwing porcelain
- Proper hand pressure and wheel speed
- Techniques for maintaining wall strength
- How to recognize signs of oversaturation
- Methods for preserving clean forms and elegant lines
Through detailed online instruction, Antoinette helps potters understand not only how porcelain behaves, but why proper technique is essential for successful wheel-thrown ceramics.
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Centering clay on the potter’s wheel is one of the first, and by far the most important activity that any potter must learn before it is possible to throw a pot.
Most beginner potters are so eager to start throwing, that it take some time to realize the importance of good centering. Some potters will lose interest at this stage and strictly concentrate on hand building. Others will end up with an injury or have difficulty to recover from bad habits.
There is not just one good way to learn to center clay, but there are good ways and bad ways. An understanding of what happens on the wheel will help to find the best way.
In this video, I am explaining to you what is happening on the wheel during the centering of clay and teach you my way. Enjoy!
There is not just one good way to learn to center clay, but there are good ways and bad ways. An understanding of what happens on the wheel will help to find the best way.
In this video, I am explaining to you what is happening on the wheel during the centering of clay and teach you my way. Enjoy!
TeachinArt is our online school where artists and potters can learn from the quiet of their own studios and where they get an in depth understanding of Antoinette's classes. You have direct access to the instructor while you study with her to ask questions.
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Antoinette Badenhorst and David Voorhees are professional potters with a combined experience of almost 80 years in teaching potters how to work with clay.
Buying pottery wheel bat systems are expensive, but you can do it yourself (DIY) in your studio.
Mima Boskov from South Africa helped us to improve the system! Read more here.
Mima Boskov from South Africa helped us to improve the system! Read more here.
See Antoinette's work and workshops at PorcelainByAntoinette
See list of e-courses at TeachinArt.com online art school
See Antoinette's blog index
See list of e-courses at TeachinArt.com online art school
See Antoinette's blog index
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There are a few things that will help with the success of throwing porcelain on the potter’s wheel. The clay must be soft enough for easy manipulation and well centered. Remember clay does not always need water when it feels hard; sometimes it is just thixotropic and needs to "wake up". The potter must feel comfortable behind the wheel, so make sure that everything works well and that you are relaxed.
What did you do before bats were invented to put on the potters wheel? Then how did you secure the bat on the wheel head before someone discovered that 2 holes on the wheel head that can hold a nut and a bolt in which you can click a wheel bat with corresponding holes in it?
In this video I am showing you how to create a clay pad that you can use repetitively to secure a bat on.
Tips:
In this video I am showing you how to create a clay pad that you can use repetitively to secure a bat on.
Tips:
- You can re use the bat for days on end. Keep it soft leather hard.
- Create rings on it so that the air between the rings "suck" the bat tight into place. Make sure the rings are level.
- Cut lines from the center to the outer rim to allow you to be able to release the bat without having to destroy it.
- Use the rings to guide you to center the bat.
- Do not press down on the bat before you have it centered.
- Do not press all over the bat; that will only let the bat go off level. A light tap in the center is enough to let it sit tight.
- Use a sturdy tool and leverage to release the bat.
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David Voorhees is working with porcelain, mostly on the potters wheel. He discussed his career and the art of his family with Antoinette in this online video interview. His wheel throwing tips and decorating techniques are reaching potters far and wide across the world in his online video pottery workshop.
With parents that were recognized for their watercolor and oil painting across North Carolina, it is no surprise that David uses his porcelain urns as a backdrop for ceramic decorating techniques.
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“My pots are made to be used” says Nan. When I interviewed Nan she told me about her life as a potter, her dedication to her students and where her career started. Nan studied in England when she were "accidentally" introduced to pottery. It was an instant passion.
Nan worked and studied in England and Ireland before returning to the USA. Her life long career has an impact on students all over the USA and now that she also teaches with TeachinArt Online School of Art, her knowledge reaches far beyond American borders.
Nan worked and studied in England and Ireland before returning to the USA. Her life long career has an impact on students all over the USA and now that she also teaches with TeachinArt Online School of Art, her knowledge reaches far beyond American borders.
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