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Web Extras Web Extras From "Throwing Clay" episode DTHC-103

Here are some tips from the master potter Bill Van Gilder on centering and glazing.

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Centering

Centering the clay perfectly from the beginning is essential. Here are some tips from master potter Bill Van Gilder.

There are four basic ways to center clay. Try them all and pick the one that works best for you. There are several points to remember that are common to all of these methods:

• Make sure that your forearms are anchored securely at all times on your upper thighs or on the edge of your wheel tray. This position helps to force the clay into the center of the wheelhead.

• Use plenty of water and a quick wheel speed.

• Using really soft clay as you learn to center makes this process easier.

Figure A

Equal Pressure Centering

This first method forces the clay toward the center of the wheelhead from three points. The left hand pushes inward from the 8 o'clock position; the right hand pulls inward from the 2 o'clock position; crossed-over thumbs push downward from the top center (figure A).

Figure B

Push Centering

The bases of the thumbs are connected with thumbs crossed. The fingers lightly cradle the clay as the palms push it toward the center from the 5 o'clock and 7 o'clock positions. A slight downward pressure with the thumbs at the same time is necessary (figure B).

Figure C

Pull Centering

The fingers are crossed over at the 12 o'clock position with the palms lightly cradling the clay at 3 o'clock and 9 o'clock. Pull the clay toward the center of the wheelhead as you apply pressure downward with crossed-over thumbs (figure C).

Figure D

Side and Top Centering

Use the left palm at the 8 o'clock position to push the clay inward, toward the center of the wheelhead, while the right palm pushes the clay downward from 9 o'clock to center. Interlocking the thumbs and placing the right fingertips over the left hand strengthens this centering grip (figure D).

Figure E

Layering Glazes

Layering glazes increases you color palette: it's an art as well as a technique.

Glaze Testing

It's wise to test your glazes in overlapped layers before committing a whole kilnload of pottery to new combined and layered glaze colors (figure E).

Figure F

Some Glaze-Layering Application Techniques

Double-Dip Application

• The second glaze application, or "top dip", should be done quickly (two seconds or less) (figure F).
  

  Figure G

• A pot dipped in a second glaze color for more than two seconds will create an overly thick application. This can result in the glaze cracking and flaking from the pot (figure G).

Squeeze-Bulb Application

• This bulbed application works great on rounded forms.

• Make sure that your base glaze is completely dry before applying a second layer of glaze with a squeeze bulb.

Linear Application (figure H)

• This is a free-form application (figure I).

• Note: Use slightly thicker glazes for this technique. Glazes that are too thin will run excessively during the application, ruining your design.

Figure H

Figure I

Spoon Pouring

Figure J

• Spoon pouring works best on small pots, whether round, cylindrical or flat in shape. The decoration will be small-scaled because the spoon "tool" is small.

• This pouring technique can be accomplished by holding the pot in any position you choose: upside down, upright or at an angle (figure J).

• Half-fill the spoon with glaze; touch the edge of the spoon to the pot where you want the decoration to begin; quickly tilt the spoon toward the pot, allowing the glaze to run downward and over the base coat of glaze.

Ladle Pouring

• This ladle-pouring technique works well on the inside surface of plates, platters and shallow bowls. Or try it on tall forms, pouring the glaze from foot to rim.

• Like spoon pouring, the same technique applies, but on a larger scale. You'll need a sharp-rimmed metal soup ladle for this glaze-application technique.

• Touch the edge of the half-filled ladle to the pot; tilt the ladle toward this edge and pour as you quickly move the ladle downward and away from the pot (figures K and L).

Figure K

Figure L