So now that we've thrown a couple pitcher shades, we've explored different subtractors bows and added a spouse. I'm going to come back in and put a couple handles on and just finish up a couple pictures with a new one with the pulled handle and one with a slab handle. And as I'm working on this, I'm going to be looking at the best place to pivot this pitcher. So obviously, we don't want the handle clutter up here, it's gonna function awkwardly, say my diff is way down here below, we want the handle to line up right about in the center of the piece here, so that the top of the handle here will meet at this type of angle and the base of the handle will line up with the spout right around in here. And that'll give us a pivot point right about in the center of the pitcher.

It should function pretty well. Alright, so I have my clay already wedged up. I'm going to go ahead and give it a couple slaps on the table and this is going to start to compress that clay strengthen that clay up and start to form our ice pick shape. Now remember the big three rules when pulling the handles, use lots of water. Keep your eye on the taper and don't try to pull too much at once. Just take your time, a little bit of time, lots of water building up a nice layer water all the way over the surface.

Initial pulling position going to be wrapping up like an O with your fingers like that. And I'm just going to work this back and forth. Setting up that ice pick type look for that icicle stablishing our taper Okay, not too much wants to stick in our time, a little bit at a time. Okay, and now that we have our icicle established, we have a nice taper finish. Moving up to thicker. I'm going to move into this position, padding the handle here so the edge of the handles nice rounded and soft while squeezing here and lots of water starting at the bottom, slowly working it up, rotate and we'll do the other side, rotate again, when from side to side.

Checking our handle ended up with my thumb right now starting to look like a pretty good handle here is thin enough that it should be lightweight, elegant to the hill to the fill, but not so thin that is sharp on the edge. Be careful that you don't get the edges here too sharp because again, that's gonna feel really uncomfortable to use. Okay, now because this is such a long handle, you may need to let us set up a little bit. I like to do that by just draping it over the size of my work table or my station. If you need to. You can always take this off, pinch that clay off Move over, pull another one and keep going.

So if you're doing a run of cups or pictures as we're working on now, so we're just going to go ahead and attach this. Even though it might be a little bit softer, we're just gonna go ahead and work with it. Now when we go to cut this off, the angle that we cut this keep in mind is gonna be really important because that's going to dictate the angle that it comes off of our pitcher. So as I'm looking at my overall shape, I'm seeing a slight lift here and coming down to here. So if I want that slight lift, I'm going to cut this handle with an angle like so. Come in, cut our handle there in the lineup, our position, take a look at where everything is going to be flowing.

We're looking pretty good there. score the area that's going to be attached score here. I'm seeing wrapping up, Brian about down in there. Make sure we're alive. Up here, a little bit of slip. And when I go to attach these I like to get some water on my fingers I can really get in there and work it together.

Can I do this on the side here so you can see the process so I'm lining it up, make sure it's lined up with the spout there. The angle looks good. Going down angling towards the foot of the piece. This this type of handle I'm looking for just real natural extension off to the piece just like it's growing off of it. Like a tree to a branch or an arm to a torso. Now, come in and shape it.

I don't want it to Too far away from the base of the piece. But not too close up, my hands are going to make sure that my fingers will make contact with the piece right in there. Perfect together. clean up our scene with a brush or sponge. That can also be a nice area for some detail work. Once this sets up a little bit, you want to come in there with some little designs or textures, anything like that.

I don't like this angle, right. I'm gonna saturate that just a little bit more. Let that up just a little bit. All right, that looks like a good full hand handle right there. I mean, that was about the center of the piece there with the gravity will be the pivot point. So I think we're looking pretty good.

So that should work. If this handle is too soft and wants to somepony keep in mind you can always take it over to the to your workstation, flip it upside down, and allow it to dry like so. Once that handle sets up a little bit with command, we can clean up the base of the peace, sign our name and build it In. The next handle we're going to take a look at is a slap handle pulled off of a taper rod. Now you can make these tapered rods out of ceramics or the back of a paintbrush works great a broken pool cue anything along those lines. The idea of the taper then is that it's going to slide out really easy and you're gonna have a thicker and a thinner end.

So, what I have here is a small slab that I rolled out. We're just gonna go ahead and move some of the excess and it's about a quarter inch thick, maybe even a little bit thinner. Check my work. cut this down just a little bit more. Looking pretty good now Come in, wrap this around like so. seen here.

Score score can work these together. If you're wanting that nice smooth handle over a little bit of water, pull that scene. Start working that together, just like we've talked about earlier with a pulled handles have a natural unity with the throne vessel because of the forming techniques are so similar. If you come back in with these hands Or if you're going to do a spout this way you come back in and clean it up and pull it in again, it's also going to start to create a very natural unity a very natural flow with the throne piece because you're out in metal that water that softness. And it's gonna have that soft field at the throne vessels have compared to with this very same handle. Like with this type of piece, which has a very different theme to it and going with that organic rough look.

I'm doing this forming these handles and the same technique but then I'm cutting them up and reattaching it and going with this real beat up kind of construction real manly masculine type fill with that. But this one, I want a different look. I want to go with a real just nice, soft, natural fill. Now that's looking pretty good. Now that our downrod is tapered should pull off fairly easy. Hands are all way Something like that.

And you can if you do find that they start to stick on your handles are you doing star will these in a line, you can always spray some sort of our lease on this like wd 40, Pam, even social work or in a pantry, we just wrapped a little bit of newspaper on there and then pull it out. If a little bit of newspaper gets caught on the inside, it's not a big deal. It'll just burn out in the kill as long as it's just a little bit. Alright, so now that I have our handle, I come in here and start to shape it. I'm going to clear these out just a little bit. We're going to be connecting okay.

I was gonna take a look at our piece here, and why these are going to be connecting on lining up. Again looking for about the center that pivot point Someone write about in their narrow market with my pen tool. Now with this type of handle, make sure that you leave a little pinhole and it's somewhere I generally will come in, attach it and then at the bottom side come in and place that pinhole so that your air can release. You don't blow off your handle during the best firing score will slip on it up with our spell. They're about they're gonna come in and start to work this together. Now since we've cleared that out, we could come in and smooth this out.

So it has a nice clean transition Again, that all depends on your aesthetic. I like a little bit of a rougher feel to it, leaving some marks to the process. I'm just gonna come in here with a tool, just scar it up a little bit not as extreme as the cut that I just showed you but just a little bit. The glaze will break over that give some hints to the process, almost like you know, being able to see a nail hit or screw head just kind of shows you how everything went together, add some texture and come back in design wise I may even beat this up a little bit. Add some little scar lines on the surface of this than that are gonna relate back to that handle. lift that up just a little bit.

That looks like a pretty good, nice round handle gives you something to grab ahold of come back in for a small pinhole the base of the piece. There we do finishing up a couple of our pitchers and that's going to give you a nice thick handle something grab a hold of should feel soft to the touch and Should have a good emotion to it.