Okay, so now we have our four basic picture shapes. This is the one that we just threw these two over here. And let's set up a little bit more through these last night. We'll use those for our additive subtractive process. But you can see I roughly have four of the same shape here. And that way we can kind of compare the different spout forming techniques.

The first technique I'm going to go over is the basic shaping technique. And again, that's what was done here, supporting the outside of the walls with my left fingers, or shaping the inside with my right index finger, which we'll do right now. And you can do this one pretty much right after you throw the piece. But it can be a good idea to let it set up just a little bit. This was still pretty soft, but we're going to go ahead and form our spout and I'm just getting to fill the flow of the piece where I'd like to put the spout at and I think The low end here of our distortion would be a good spot for the spout and then the handle can pop off here and here. So again, I'm gonna be bracing the outside walls with my thumb and index finger or shaping from the inside with my right index finger creating a nice channel, little throat going down in here, which is going to help to direct our flow of liquid.

I'm brought this lip to a little bit of a sharper edge right now, because I'm thinking about is that fluid cut off and you want to have a good fluid cut off with these pitchers. Otherwise, you're going to get a dribble going down the spout of the piece. Often, there's lots of different theories about how to achieve that. But often how I explained it to my students is think about it. The end of that spout similar to your fingernail, you want the inside of that spout to come to a sharp point similar to the hard edge of your fingernail, but the bottom of it tip still be fleshy and rounded to take some some of that abuse and maybe it gets banged around in the dishwasher or the cabinet. So it's still a nice functional spout.

Alright, so there we go. That's the basic shaping. We wanted to we could even exaggerate that neck in there a little bit more so with that nice, fluid movement through that picture, and we see our handle coming off of here. Alright, so that is the shaping spouting and that's one of the most direct forming techniques. It has some movement to it, it's a little raised here. The next technique we're going to talk about is the pole spout.

And this is going to elongate us about even a little bit more and introduce a little bit more movement into our piece. So again, I'm taking a look at it judging where I want that spout on They can maybe write in here. Now I did let this set up just a little bit. Hopefully stiff enough should be stiff enough that I can support it with my hand while we go through the forming process. All right, so the idea here is gonna be similar to the pooled handle, and we're going to be attaching with my right hand. I do this again, we use lots of water and we sporting the outside with my index finger while pulling up from the inside with my thumb, working back and forth to elongate this bout.

With this type of spout it is a good idea to leave a little extra clay a little thicker lip up here and that's going to give you more clay to pull up and elongate that spout a little bit, which is one of the nice effects with this technique. So again, I'm gonna be supporting the outside of my index or pinching from the inside with my thumb. Just like our handles, don't try to do too much at once. Just take your time, a little bit at a time. We've got a back and forth. A common mistake I see with spouses is to go out with just like one little finger and make a real thin little spout you want to, you want to thick enough that that fluid can really flow out of there.

Lots of water trying to take on some shape now. Sending that up, elongating it. Starting to gain some height, sharp edge to a little bit more nice rounded in spout should have maybe left my walls a little thicker to get this a little bit more more of a spout to pull up. We start seeing this shape and I'm going to finish fine tune the shape I found it out. We're still slightly here and we have a nice crisp spouts there should have should have solid fluid cut off is slightly elongated so it has some movement to it. Maybe even if we were to take this out a little more movement into the picture itself.

Exaggerate that. Now we see our handle coming off here. That should be fun to use. Again, the thicker you leave that spout, the more clay you have to pull up to elongate that spout. So it could have been a little bit more elongated but I think it's gonna work. Looks pretty good.

All right, then next step. going to take a look at is the subtractive process. Now this is definitely more of an aggressive process, it may be helpful to and cut a template and kind of sketch out where you'd like to piece to be. Right now I'm thinking I want to start right in here. So I'm gonna go at this with my wire tool facing the bat with my body. We're gonna take a cut away this outside edge.

Then again, I come back in here and fine tune this shape. Moving some of this moisture in a little water onto the surface of our vessel. Now this is really introducing a really long data spell as buffer handle come off here, pulling in the sides just a little bit to avoid that spillage over the sides. Continuing to shape it. Clear out the backside here, our handle. I'm seeing this elongated spout here with the spout coming off Hear down.

But we're definitely moving away and distorting our shapes more and more. I mentioned this as a more aggressive approach there for sure. Shape just a little bit. There we go. Looks a little better. All right.

Let's create a very different fuel there. Yeah, that should look that should work handle coming off of here. Okay, so that'd be the subtractive process. The last process I'd like to talk about, is the additive process, additive spout. Now there are two ways you can do this. One is to throw a cylinder that you're going to be adding that spout to, like I did here, just throw in a small cylinder.

And then I cut out a template of roughly how I'd like that about to look. lay that on to our throne cylinder and cut it out. To create that template. I knew roughly the shape I wanted something that looks like this. So I simply took a piece of paper, folded it in half, drew out the shape. And voila.

I'm gonna test this out, see how it feels on this piece. It goes pretty good you on vacation, they're thinking maybe burn reference here, something like that. Maybe not leave a little bit of a rough edge there, the handle here again. So we can do that directly off of a thrown cylinder or out of a rolled slab. Either way will work but all the often if you can stay within the same forming process the same for me technique is going to add the unity in the natural flow of the pieces to flow together. So if you can see here, cut out this bow.

This will definitely work and that clay is still soft enough that I can come in there formatted and in and get a nice fluid flow through it a nice unity. But now I'm just looking at it almost aesthetically I guess I'd say I'm looking at very aesthetically I'm seeing the throwing rings with it. On the inside and the fluid of this movement, there's not a lot of throwing rings on the outside, we can definitely still see him on the inside where you're not going to have that connection with this lab piece here. So by staying within the throwing parts, and if I took my template and cut out this piece, you see I have those throwing rings within there, which is going to create that connect action with the piece here. So saying within the same forming processes, the throne pitcher shape here and our throne cylinder here that we're going to cut out our spout out of, we're gonna re we're gonna continue a unity through the throwing through the forming process.

So here you can see I clearly have these throwing rings within the sight inside of the spout, and I can clearly see the thorn rings with inside this piece. So now by combining these two, it should start to introduce a pretty natural flow within the piece. Line up this spout or general area here Mark where we'd like to spell to be score the surface. Now I'm going to go ahead and I'll remove this extra clay internally once I have the spout in there. I'm gonna leave some of these scoring marks in there as somewhat of a trace of the process and it's gonna give a little texture to pick up some glazes from that glaze surface to break over that. Again, add a little variety add a little surface interest there.

Scored my spell slip together I'm breaking these up in very clear steps of this is additive This is subtractive This is formed. But generally speaking, just like most techniques are going to work best in combinations with each other. So if I really wanted to exaggerate this about, I may add the spout here, create this nice elongation but then cut a little bit away from the backside of the handle here, which is again, just going to really exaggerate that shape. Clean up or surface or edges. And then I'll go back into my shaping position and continue to shape that spout and throw it out a little bit. There we go.

Now if I was in my own studio, I would definitely spend a lot of time cleaning the areas up and I would recommend that you really spend some time cleaning up these areas given a demo setting like this it's not necessary filter you know to watch me spend 10 minutes cleaning up these general areas but that we mentioned it and that you understand the process and what we are going for. Oh yeah, like this undercut right here. Nice kind of throat reference there. Okay, so now we're gonna continue the shaping process. We're getting some water in there supporting the walls again with my left index finger and left though. And this one, these type of pictures they are definitely functional functionable but they have somewhat of a decorative quality to them too because of the spouse are so elongated and so now, platelets a playful lack of a better word.

You know compared to some of those more direct pooled or shaped ones, they definitely have a more functional feel to them. more direct reference are these wings up here a little bit. So now we have our additive spout and again you can see that we still have those throwing rings within there so everything is kind of related and has a sense of unity to it. They should be flowing for the most part into the pieces. And then if the handle come back in, a nice handle coming off here, perhaps to follow this line here, out. See this razor edge here, coming here to continue the line of the piece.

This The flow the spout into the handle into the base of the piece and backup. So those are our four basic spouts that we're going to be dealing with. additive subtractive, pooled and shaped. And within those four possibilities, the options are really endless.