Okay, so the next shape that we're going to talk about is trimming our bowls that we drew earlier. And again, be very careful when removing them from the bat if you need to re cut them off with a wire tool I already tested mine I know I'm pretty loose, ready to go here. Use both hands when picking it up. Because if you warp or distort your form now, that very easily can come back during the firing process. Take a second so your Wait, we take a look at it sort of thinking about the type of foot that you'd like to put on this. And then very gently, put that bowl upside down and tell the gram you know I've altered the rim here.

It has that nice glow to it. We're talking about the salad bowls. So obviously we're not gonna build a center to that area. Again, focus at the base of the piece and this is the area that we're going to want to center. fingers on top downward pressure leaning forward. breaking your arm.

Okay, you can see where it's touching there. Give it a little scoot, scoot. There we go, we should pretty much have it there. Alright, and once again, just like our cups, we're going to secure it down with two levels of clay at the same time pushing that clay down to the bat. Now one thing that we should talk about while we're talking about these forms, because we're talking about a functional bowl, utilitarian piece, and if you're going for that utilitarian goal, if that's your intent for this form, you really need to commit to that. And I know I mentioned before, with the curves about sharp edges and points and things like that.

But again, I want to touch on that and just stress the importance of that if this is going to be utilitarian piece, you need to have a nice utilitarian foot honest against something that's going to take that abuse, that's going to take the everyday use, just cleaning up the outside a little bit with my larger trimming tool. And I'm looking at this and I kind of like this line right here. So I'm starting to think about maybe a double foot on this piece, may undercut it just a little bit more. I'll show you what I mean here in a second about a double foot. A little more of an undercut, as always trimming the outside first. Moving that excess clay, and as we're trimming these, the goal as always, is to echo that inside shape.

So we're trimming right here. We want to echo the inside shape of that bowl with our outside trimming. And that's going to ensure that we have a nice even wall thickness in a nice light piece. So we're cleaning this up right now. I think a nice little detail line which kind of gives the idea of a double foot right in there. Yeah, like to look at that.

We're gonna draw our line for foot, so I know this is gonna be my foot, I'm going to remove this excess clay. If you notice here, I am still pretty sharp right here on the edge, which is a pretty dangerous area. Before I'm done when I come back to clean up and soften these edges. With my sponge, I'll compress that in and thicken that up a little bit. For even the smallest little details details are so important. The details are really what's going to separate a mediocre vessel or mediocre pot and really make it into a great or an individual type vessel.

Just the smallest little details like this detail line right here and already that that enhances add an extra shadow. I know that the glades is going to break nicely over that area. area which again is going to give another dimension to the piece. details, details details, the best part of any story is in the details. Now, one way to also tell if you are trimming these pieces enough, if you were to take a look at this, just do this so you can see what illustrate what I'm talking about right here. If this foot was not here, visually, this line from the inside of the bowl should line up with my finger on the outside of the bowl right here.

Okay, and I can cut that away to help illustrate that. Okay, we can see how that's a continual line right there. And I know that the inside of my bowl is a nice rounded bowl. So by looking at this, I know that I have a nice, even thickness, a nice uniform thickness because I've echo that shape right there. Okay, I'm going to clean this up just a little bit and says I want to hit a notch that put me We'll go ahead and notch the rest of the feet. And we're going to talk about that a little bit because this is a great way for adding some visual interest in the piece as well by introducing a little bit of negative space in here.

Aesthetically, that's what we're talking about. But functionally utilitarian Lee there are times or forms that you're going to want to notch the feet like this is especially say for colanders because it's going to allow an area for the water to escape. Okay, so I did my first notch and I'm going to lay my wire tool across the center that first notch across the center of my vessel to mark where my second one should be laid out. gritted out ever so slightly. Now the key to notching your foot is to not take your wire tool all the way through. Only take it halfway and then come in from the other side to finish the notch.

Reason being if you were to take your knotch all the way through as you lift it up on this high edge, it likes to chip right here. We'll come back and we'll clean that up. soften up those lines. Remove those hard edges like that. Okay, move our lugs, signed a piece and we can move on to the next one. We're going to be very gently picking it up removing it from the tabletop.

Okay, so as you can see those nice detail lines there at some points of interest, those little notches, create a little bit of a shadow underneath the piece. And we have nice little finished look to the piece right there. Let's go back and trim this one. This one has a little bit of a more organic flow to it so it's a little bit of a looser form. Go with a little bit of a looser trim to it centered up as normal, slight downward pressure with our left fingers to keep it from sliding off of the wheel head. There we go.

Once we're centered up, secure down with our lugs boom, boom. Okay, now we're ready to trap. All right, and as always cleaning up the outside first. That excess clay. Now with these more organic shapes, you're really limited on how far down you can trim them before you start entering the areas of those undulations and those alterations or distortions that you put into the form. That's okay, as long as you've thrown your walls thin enough during the initial forming process, your physical way of the piece should still be okay.

With a nice undercut on this one so I can give it a little bit more of that loose foot again. A couple dents in there. Draw our line. Okay, so there's our foot right there and remove all other excess clay. Little bit on that outside edge back to our inside. nice firm grip on those trimming tools.

And again, this is how your trimming should look. nice clean ribbons. I think we're just about there. I'm pretty good come back in, soften up those lines with a little with our sponge a little damp water. Make sure edge of our foot is not too sharp. compress it in rounded edge a little bit.

We don't want any squared edges. Rounded feet rounded edges will roll into position where a sharp edge or squared edge is more likely to chip. Okay. Again, we have this organic form so let's give it a little organic shape. soften up those lines. And let's see what we did.

Okay, so you can see him just a little dense within the foot right there help to lift it up, give it a nice playful quality in this piece. You know, there's enough undulations and distortions in it that you know, we have a little bit of a built in handle here. It just looks like it's gonna be comfortable to use. It's gonna be fun. Again, it's gonna make that you know, that everyday salad bowl into more of an experience and a life enhancing quality to it. Okay, next, let's talk about plates.