The next shape we're going to talk about is pouring vessels, primarily pitchers, but really any pouring vessel there's an endless array of different sizes and depending on the needs of my gravy boat to a large limonade pitcher, we're going to just be focusing on about a mid size, pouring pitcher pouring vessel. And because mainly what I want to focus on is talking about different spout forming techniques. There are four primary, you know, for basics about forming techniques, one would be pulling, shaping, additive and subtractive. So I'm going to do a couple of just the basic shaping or forming spouse right here just to show you a couple different techniques and how they change depending on the lip of your piece. So we're just going to pretend like this is the lip of my piece or the top of my piece and just talking to illustrate the basic technique of this forming right here.

Okay, so let's just say we're going just a straight walled lip of a piece. The most basic and this is, you know, one of probably the most universally used most direct approaches to forming this spout. And the idea here, and I'm going to wet my finger, my right index finger which is going to be used on the inside for the shaping while supporting the outside walls with my left index finger and thumb, me supporting the walls here. I'll work in the clay back and forth, shaping the lip. So you can see how this is starts to take shape. We'll get that a little band to fine tune that shape.

They're a little bit okay. So very direct, very simple process. Simply working that damn finger back and forth, and stretching that clay outward. Now we're thinking about pitchers, there are two primary functions that they need to do, they need to direct the fluid and they need to cut off the fluid. So with that being said, the shape of them is very important. You don't want to pick your top, that's going to flare out too much.

Say the top of your picture shape came up like this. You don't want a neck that's gonna flare way out like this because then when the water hits this outside lip here, it can definitely call cost and spillage. If you're gonna go that route you need to compensate by lifting the edges here to block some of that fluid flow. Or another thing to consider with that shaping technique is if you were to take your lip and flare it inward, then when you come back to flare that out, that's going to give you Some additional clay for the shaping process and that it will give you a more elongated spout on your pouring vessel. So get it This was the top of our piece if I was to take this and flare it in before I continue on with that shaping process. You see how this will be more of an elongated top here.

It can be helpful to let this clay set up a little bit before you move into this forming process that you don't distort your entire form. But here just to demonstrate a couple quick examples of tops. When I do it while the clay is still pretty soft here we see that gives you a little more of an elongated top right there. And by carrying this in it, close it off, close that form off a little bit and gives it a little Little more movement, you see a handle coming off of here, get this piece of nice flow to it. Now if you're doing a pool technique, which I'll demonstrate in just a minute with a piece I threw earlier, you're gonna want to leave the rim of the piece a little bit thicker to give you that clay to pool. With the subtractive process and the additive process, you want to consider how the overall shape is going to be affected by the removal of the clay in the subtractive process, or by the additive of the spouse you're going to be attaching to it.

So let's just go ahead and throw a quick picture here. And then we'll move over to the table and take a look and I'm going to do is throw four pictures of roughly the same shape and put a different spout on each one of them. So that we can compare how aesthetically they differ. The function, the function and the aesthetic of the piece, just how they are the different looks that they have. corners walls up I'll see what's your pictures you want them to have good as lightweight as you can because they are going to be filled in with fluid which is going to obviously add quite a bit additional weight to it. So if the picture is heavy to begin with people are going to notice it's going to be uncomfortable to use if it has and proper weight.

Similar to the improper balance when you start talking about handles. That handle doesn't pick up that center of gravity can definitely give that vessel an awkward flow. Okay. It's like a pretty good shape there. For cylinder I would come back in remove the moisture from the inside Using this metal rim to clean up this outside, also compressing these walls removing the moisture. Now another thing that we're talking about pitchers that you may consider is that there are going to be forms that can be difficult to trim even with the chalk or some of these extra precautions or additional equipment for trimming up this room get that ready to go.

So you may come to forms that you just may choose not to trim, say pitchers or small tumblers, sometimes I'll get away without trimming them. And but you still want them to have that finished feel to them. Okay, so what I'm going to do right now, is I'm going to come in and remove Quite a bit of excess clay down here and I'm actually gonna grab some clay up above about a inch and a half or so from the base of the piece and throw that clay down to form that foot. So it's still gonna have that finished quality compared to clipping this upside down on a chuck and trimming it. A Chuck or this PC may even need to try to balance it upside down secure down some lugs just remove this excess clay here. Depending on the size of the piece, you may even let the set up a little bit and come back in with your trimming tool and cut some of the excess clay away with that if you have quite a bit there to remove, and if you're going to do that technique, I would wait to it set up at least a little bit.

So for that process, don't cut off the bat just that piece off to the side. Let it set up for a little while. 30 minutes an hour or whatever it takes. Bring it back, reattach it to the wheel head. Come in with your trimming tool. Remove that excess clay and then move to this Yep, sorry, give it a deep undercut.

I'm going to come in right here about an inch and maybe a little more about the base of the piece. And I'm going to take this clay and throw it down. So, right now what I'm doing is I'm creating that foot so it has a finished look, as if this has been trimmed and it is completed, it still has a nice deep shadow underneath of it. And then once this sets up a little bit, I'll come in smooth out the bottom, round the base of the piece, and give it a little tap to concave the bottom. To counter that bubble duck. It happened during the shrinking process, but we'll talk more about that when we actually do it.

Now to add our detail work, and then we'll move over to the table. Talk about spouts. Okay, let's go compare the spouse in our pictures