The next form we're going to take a look at our bottle and I'll throw two different styles of bottles one taller, skinnier one, and one shorter, wider one with a very small enclosed, enclosed top, we'll just go ahead and enclose it in all the way. But a couple techniques that we're going to be talking about during these bottles that we're going to be introducing is again, the ribs, we're gonna be focusing on using them for our forming process. Whether the rib is on the inside bracing the outside with our fingers, something similar to this or using the rib on the outside to clean up the surface and to fine tune those round shapes. Something similar to this. The other tool that we're going to be introducing and looking at is our throwing stick. In the end this is going to work well as an activity will work as an extension of your inside hand, especially say on these taller forms.

That may be a little more difficult to get our hands in there. See if our shoulders start to want to slump on it and we're having difficulty getting in there. We can use this throwing stick to get in there and fine tune that shape while supporting the outside with our sponge something similar to this. So we'll take a look at these two tools right now. So we'll do a tall one first and then we'll come back in and do a more rounder form. Bringing up our bottom, checking for wedding lines.

We look good on the left in the center of our wheel head wheel spinning nice and slow, slapping into position. I'm going to be centering using the coning technique. First, I'm going to layer up that layer moisture on the surface. Pull the clay down using my natural body mask, grip to clay at the bottom. Point it up Left hand on top, compressing the clay down in a way to get to about the height. I'd like my center piece of clay to be slotted in my left hand over into the centering position or control position, right hand on top and fine tune our centered shape.

Narrow the key with throwing these taller forms just like we talked about in the cups is keeping our top and tight. I'm really going to be focused on keeping that top end tight and establishing that cone shape. And right now we'll go for a taller bottle let's say something like a wine bottle shape. Opening the base chart quarter inch from the 4.2 floor out. Ideally the bottom pulled out farther than the top establishing that cone shape right from the very beginning. Moving over to our throwing position in towards my right compressing from the outside all the pressure should be coming from this outside hand at this point, because we're going for top.

We're going for height, we're going for this cone shape, right from the very beginning. Finish the pool all the way out the top, compressed our rim. Continue shaping and all that pressure coming from the outside. I'm really digging in this ring of clay right here. That really clamoring to lift and pull that up all the way through the piece. Don't forget to breathe, sign up the pressure as you move to the top.

And you should pull all the way off the top. compress your rim. We'll do one more poll and then we'll come in here and start talking about shaping. Up to this point, I had this larger piece of clay so I was using the full sponge. But now that I've thinned out those walls, I'm going to move to my half sponge. It's going to give me more of that tactile feel to really fine tuning this shape.

Pressing from the bottom, within this clay up, lighten the pressure as we move up, finish that pool all the way out the top. Now as we come in and start stretching and shaping our walls, it is going to thin those walls. So yeah, you want to throw them thin, but don't worry about getting super thin, you know, as long as you're staying within that quarter inch range, you should be good. So before I start closing in the top or shaping the walls, I'm going to come in here, remove the moisture, move all the water from the floor of the piece. We don't want that setting in there. Removing moisture.

Now we're gonna come in here and start shaping. I'll do the front Initial shaping with just my hands. And then we'll come back in and talk about ribs and some of these other tools. So we have a height, I'm just gonna give it a little bit of a shoulder here and go with that classic hourglass shape with this kind of tall wine bottle type shape, with just a little bit more of a shoulder right here. It looks like a good shape right there. Now let's say we got some undulations here, some uneven spots, I always come back in, fine tune that up with our wooden rib.

Cleaning up those undulations. You can also use this rounded part of the rib for shaping if you wanted to go a little bit rounder with it, which we'll do on our next form. Let's say we're just gonna fine tune this shape just ever so slightly. Okay, check the bottom for water. Remove that moisture on the inside. Now I'm going to come in and color in our top And we're calling remember, use lots of water to limit the amount of friction on the surface of the piece, expanding your fingers making contact in four to six points all around the vessel and begin to color it in.

And as you do this, this is going to thicken up those walls. So most likely you'll be able to get another pool out of this. But also expected to end up with a somewhat uneven ramp. that's gonna happen. Come back in, pull up our walls. Okay, so let's talk about our throwing stick for a minute.

So let's say we're throwing along here and our shoulder starts to collapse, because this is going to be your danger area right here. Over time you have all this clay pulled up. This is going to be the clay is going to be starting to get a little soft, it's not wanting to hold this shape as well. Or if you're going with that more dramatic shoulder you really got that flash shoulder, that's me more likely to want it to slump and collapse. on you. So let's say that starts to happen, you get to your shoulder starts to want to slump on you.

Well, you could open this up to where you can get your hands back in there, or this could be a nice area to start using your throwing stick. And again, I'm going to use this as an extension of my inside hand, while bracing the outside with my sponge. make contact roughly right in here with my throwing stick, pressing out and slowly moving up in that throwing position to work out that undulation. You see how that worked out right there, or you can use that in combination with your other ribs to really start to fine tune that shape and get in there to those areas that are a little more difficult to get to. and fine tune that shape. Well now we worked out that undulation that uneven area there, we cleaned up our surface.

Now let's work this to a nice finishing point and then when I want to throw a nice front Brown bottle because that's going to be a little bit of a different approach. And then once you set up we'll trim both of these and a chuck, which we'll talk about tomorrow. Okay, so what kind of personality would it be like this piece to have? Is it looser and more whimsical? Is it tight? Give it a little more of a pool here.

It could be fun to have a little bit of a looser top here. A little more organic. Something to come in here. Cleaned up my shoulders. Do any fine tuning of the shape right now. little detail line right here.

And I think that's the kind of okay Alright, let's give it a spiral top to be a little fun. Now it has a little more of a personality a little movement to it. And when we come in and trim the foot, maybe we can give it a little twist there or loosen up that foot a little bit. But as always, we want to come back in and clean up the base with our with a knife. nice firm grip of both hands tip all the way to the wheel head. decided in moving that excess clay undercut.

Now we can set this off to the side. Let us step it up to that leather heart and we can trim it tomorrow using what is called a chuck