Glaze materials are expensive and many times we test glazes that has potential, but is not necessary what we wanted, or it may take many more tests to get what we want. I am one of those potters that do not easily trash anything. So I am always making plans to utilize what I tested and many times I found hidden treasures where I least expected it. In this video I show you how I use glaze tests from the Glazing made easy e-course that either have some potential or did not work at all. 
You can also create new and fresh glazes from old glazes. Just make sure that you test it properly and that the end result fit your clay body. Remember to take notes. And remember, there comes a time when  tests of tests should be trashed. ​

​Antoinette shows in short video clips how to trim porcelain during the workshop in Moose Jaw, Canada. During the time in Canada she interviewed Jack Sures at the University in Regina. Her online porcelain classes are much more in detail with many more tips and techniques.

Porcelain will not sit on a small pedestal like that when the pieces are made freshly. The clay is too fragile at the raw stage, so I make plans to finish the piece once it is a little harder.
The bowl at the top is wheel thrown and the base is hand built .

My way is not the highway. If you can take some things from my way of throwing and trimming and develop your own style, I have achieved exactly what I wanted to. Each and every one of us has our own ways of doing and handling things and the teacher that tells you cannot do it different from his or her way, is not honest with you and you have all rights to challenge that person.

One of the most difficult things for potters that did not study chemistry, is to understand glazes. Antoinette describes it in this demonstration with everyday groceries found in the kitchen.

One of my favorite activities in porcelain is to alter and carve the clay. It is wonderful to feel the clay respond to my intuition. ​

One of my favorite activities in porcelain is to alter and carve the clay. It is wonderful to feel the clay respond to my intuition. It is not always easy though. One push too far and the clay will start to crack. Sometimes I get carried away and forget that the clay will need to be fired once it is made into a wide rimmed bowl. Porcelain is very demanding in the kiln, since it become semi-glass. If I just work and do not plan, it ends up in a disaster. 
This bowl was one of those that did not make it, but has a beautiful story behind it: 
When I was presenting workshops in Europe in 2016, I created this wide rimmed bowl from Audrey Blackman porcelain. Koos and I carried it with us to all the next workshops, allowing me to work on it for 2 and a half months, over the workshops that I presented in 6 different countries. We traveled by car.  I began to trim it in Slovenia, altering and starting the carving process in Belgium, back to Switzerland, where I originally threw it, continuing to perfect it in Vallauris, France and finally carrying it to Spain with the hopes to get it bisqued and to leave it behind in Europe. Unfortunately, it started to crack, due to our long hours on the road and possibly the unpredictable situations that it went through, so we decided to break it.
In 2018 I made one at  La Meridiana and one in Switzerland

I'll be back in Europe in 2021, so maybe I should continue with more carving as I teach in new places, like Madrid and Vienna. 
 
I love the carving process and the challenge to being able to carry it with me in a box for such a long period; was amazing. Porcelain can tolerate many things; uneven drying conditions is not one of them. 
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It helps to understand the porcelain clay medium and if nothing else, I use my success and failure to teach my students.
If you are having difficulty with porcelain, you can start to read my blog posts here and consider doing one of my classes. I teach students ongoing in online workshops, but I am also teaching classes in different parts of the world. 
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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 soft clay does not always need water; 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? 
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In this video I am showing you how to create a clay pad that you can use repetitively to secure a bat on. 
Tips:

1. You can re use the bat for days on end. Keep it soft leather hard. 
2. Create rings on it so that the air between the rings "suck" the bat tight into place. Make sure the rings are level. 
3. Cut lines from the center to the outer rim to allow you to be able to release the bat without having to destroy it. 
4. Use the rings to guide you to center the bat.
5. Do not press down on the bat before you have it centered. 
6. 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. 
7. Use a sturdy tool and leverage to release the bat. 

​​Click here to see Antoinette's porcelain e-courses ​ or go to her workshop page

​I had several people asking me how I create porcelain vessels over a balloon. Some potters create these vessels with slip, some create them and it leaves thick patches. In this video, I show you how I create them to where they are perfectly smooth. It can be used for sculptural, as well as functional work.

​ Once the bowl is removed from the balloon, the placement of a foot rim can be marked out and a coil, pinched or wheel thrown rim can be placed on the bowl. This can be a small foot rim or a tall pedestal. Click the button below to see and read more about foot rims

Below are links to some of the online workshops that Antoinette Badenhorst presents. Click on the button to go to the content and registration page. ​

 A slab of clay can be easy to make, but potters are not always successful, because they do not always follow the rules. Click the button below to see and read more about making slabs. ​

It all depends on what you do and how you want to present it. Click on the link below to learn more about the hand building dinnerware e course.

​Learn to understand glazes and glazing techniques so that you can become more successful as a potter. When you learn how to fix, how to apply and how to decorate with your glazes, nothing can stop you from becoming an excellent ceramic artist.
​One of the methods that will be addressed is majolica, but when majolica techniques are applied to a cone 10 glaze, it becomes something different.