Transcripts
1. Introduction: Hello, My name is Sam, and in today's class are going to be learning about throwing bottles on the wheel. The bottle is a simple form. The few basic parts usually defined by a narrow bottom and narrow at the top with an opening that allows for even just insinuates the use of a coworker staffer and a curved body that can be interpreted and mess with in a million different ways. These are one of my favorite forms to make. And I like to use them as a metric for my own evolution creatively, as well as my growth. Technically. This is because it combines the visual challenge of making a good bottle with the mechanical challenge and lifting the clay high enough to shape it into its vertical form. It can be tricky. For years. I've used through bound models as a guide, as well as a couple other of my favorite forms we'll cover in later classes. But it's a task my mentor set me on when I first started apprenticing for them. And I've kept it going as a consistent marker for my progress. The basic Bob has only three parts, bottom, body and neck or bottom, middle, top doesn't really matter. What does matter is learned to see the bottle as a whole and also as a combination of these parts. And learning to coordinate your eye and your hand to bring the form from your mind's eye out into the world. Since the bottle is a simple shape, It's more difficult to get right. And small mistakes are also more noticeable. This may seem off putting, especially to beginners, but I would encourage you to get into it anyway. The bottle will serve you well. And all of those little mistakes will turn into little lessons that you'll find you had to learn in order to progress. Potter is like anything else in this regard. Failure is an important part of the process and makes those moments where we get that line just the way we want or trim something just right or throw something without any trouble. Those moments are so much sweeter when defined by the struggle and work it took to achieve that goal. So if we can gain a better understanding of the basic elements of the bottle, how to make those different parts work together and combine that with practice. I'm confident you will also fall in love with a simple vessel that will challenge and inspire you. Let's get started.
2. Preparing our Clay: Okay, so the first thing we're gonna do is go on clay out of the bag. And I'm going to be careful while I'm doing this not to stir up too much dust or this gets so many things flying around in the warm-up is less thing, less dust and stuff There's flying around in the air, the better Wilber doing this. So my eyeball about three pounds. Put that on the scale to double-check. Little bit short. So we'll cut a little bit more appealing counter, so too much. Take a little off. And there we go, right around three pounds. Always remembering your clothes are claimed bag that you have to give them the twist and then set it back on itself. Keep all the air out, keep our colleague nice and hydrated, easy to use. Now we're going to get into wedging. This clay. Merging is one of my favorite parts of this process. It's an opportunity for you to get acquainted with the clay, get a feel for how it's feeling. I kinda think of it like a handshake with the clay just to kind of get us acquainted before we actually get into the throwing. So when I go to wedge this I'm going to do is this spiral wedging technique, which involves rocking the clave forward, bring it back at the slight twist in raga back forward. And the whole idea with this is to push the clay into itself. And that's going to drive our air bubbles. It's going to make the clay homogenous. And it's also going to give you a sense for how well-hydrated declared as often when people are starting out, they're not sure what types of clay to use when it comes to throwing. And a lot of that's going to be preference and there are some clays that are going to be better than others. But I would say when you're just starting out, the most important thing is to just make sure clays properly hydrated. That's going to be your best friend. And that's going to set you up for the most enjoyable experience as possible. Nothing will frustrate new potters more than clay that's too hard and too dry. And they just don't understand why things are working and it can take the teacher a long time to figure it out. Or if they're doing it alone, they might never figured out and only fine frustration with this where they could find a lot of joy with it. So what I'm looking for are these little folds starting to accumulate and you can see why it's called spiral wedging, just on the spiral shaped that's developing there in the center. And I'm also keeping an eye on as I push these little folds out, I want to make sure there's not really any cracking or anything that would demonstrate to me that the clays a bit to dry. This feels really nice. This is really nice clay. It's been stored well, it was mixed well, it's mixins and mix up a bunch of really good clays. So this should be really nice to throw. I think that's enough wedging for now. Often get asked how much wedging is enough. You'll kinda get a feel for that as you continue. I usually go by silicate. This is a three pound piece of clay. I'll usually do at least 30. 30 pushes for pounds, 45 pounds, 50. You don't have to do that. It's just kind of a baseline that I go on. But since I like wedging anyway, usually go over that and that's okay. So once we have enough wedging, I'll do a couple easier ones just to get smaller and smaller and smaller and smaller. Rocket around a little bit to get a nice even bought in there. And then I'll just kinda slap that into place a little bit and get us a little better shape. So when we go to throw it and we go to plop it on the wheel, we won't be plopping it on any of these creases or anything that could result in a crack. Later on, we went a nice smooth piece of clay right on the bottom that we can put in the middle of the wheel had and really set ourselves up for success.
3. Centering: Okay, Now that we have our clay ready or tools ready or water ready, Let's get this clay on the wheel and make a bomb. The first thing I'm going to do is get my sponge just a little bit wet, squeeze all that water out. Spin that on the wheel it just a little bit. Just to get a nice little bit of water. We're not squeezing a bunch of water on there. We also don't want it totally dry. Just a little bit of water to help to clay, stick to the bat. Get our clay here. And I'm going to smack it right down the middle of the whale kinda hard and you can see I really miss my target there. That's okay. It doesn't matter because the next step, slap centering is going to help scoot that around a little bit. And slap centering and exactly what it sounds like. I'm going to slowly tennis. We'll instance, this is a magnetically driven wheel. I don't have to turn the petal. I can freely spin it either went home. So I'm just going to slowly start to slap this is the place. And this disables some work later on when it comes to centering. But it also helps you make sure that this clay is really stuck to the wheel head. Their view things were some throwing then getting started on something, especially when you're centering and having a clay, just slip it authentic. So fun. So that's close enough and see it's still moving all over the place. But that doesn't matter because we're going to get some water on there. And I'd take my left arm, embrace my elbow. I like the eraser right here in my hip. Gets more water on there and then I use the heel of my palm here to just kinda rest against that clay. And then I can start to lean forward. And I'm just focusing my left hand just on the bottom of the clay here that I want to keep my elbow anchored. And then if I just lean in, you can start to see how much I'm starting to get this clay where I want it, then abdominal water and then this right hand comes in and it's going to apply that downward pressure driving that clay back down into the LAD left hand. And this elbow kinda floats a little bit. When you're starting out, you can keep belt elbows locked. That's probably for the best, anything to help keep your wrists stable. The whole idea though, is trying to use your body as much as possible when centering and not fight and things that you don't want to have your elbows out. You really want to keep them, keep them close. And that'll allow you to use your body weight to just kind of rest over the clay. You don't really have to fight it. And it's something that just takes practice, something you'll get the feel for. And you don't want to practice too long on any one piece of clay because the longer you center, the longer you throw in general, the more water and friction you're applying, the more clay or taken away. So that's something to be mindful of if you just want to practice in center until your clay is gone and go right ahead. I'm not going to stop here. And I'm not going to say your own for doing it. So now that we have this centered, Let's also do a quick cone. And it's coming to claim of quick encoding is also just sort it sounds like squeeze from the bottom, lift this clay up and do a cone-shaped. And then we're going to press it right back down, drive it back down close to that. And that also is just another opportunity to get the clay homogenous, get a feel for it. And it's just kinda cool. It's kinda fun to do.
4. Throwing: So now we're ready to start opening this play out. So many use my right thumb here and just press this dimple down with the curve of my thumb. And I'm going to press down somebody used my left thumb first. I'm kinda get a hold it like a like a tool because I don't want to use my left hand. I don't want to use all these muscles in my hand to drive it down alone because that's bad for your hand. So I'm going to use my other hand to really support my thumb. So it's not having to work so hard. And just trying to get as many of my body parts working together as possible to create his little resistance as possible. It's easy to get different aches and pains when you're throwing. Oftentimes in your bags and people in their knees or hips, and your hands are risks. And that's all very natural, especially when it's something you're not familiar with and you're still learning the mechanics of it's like if you go like skiing or something or swimming for the first time, like you're really sore afterwards because you don't ever really use those muscles. So as you get more familiar with it, you'll find ways to be more efficient and find ways that are comfortable, which is ultimately what we're looking for. So now that I have about the depth that I want, and we should probably go ahead and double-check that just to be sure. And check that I'm gonna get all the water out of there and grab my needle tool, plop that right down in the center, stabbed with the clay down to the bed, slide my finger down the toilets where it hits the clay. And you can see I've got about a centimeter or so and that's perfect. That's exactly what I want. So I'm not going to be trimming the bottom of this. It's not going to have a foot. So I'm not going to be taking any clay out of the bottom. So I want to make sure I leave enough to where it's strong enough, where it won't crack, but not too much where it just feels really bottom heavy. Now it's time to open up the base right now it's kind of a V inside and I want to make it more like that. So kinda like how I did with my left thumb holding it like a tool. Now I'm going to use my right hand and use my left hand is support that and the rest my fingertips in there and then slowly pull back. And since this is just going to be a three pound bottle, I don't want it to be super wide on the n-side. Maybe not even not even a full two fingers spread across. So once I have that opened up, It's a little ridged and uneven inside. Somebody get the water out of there. Take my nice wouldn't rectangular rib and then use that to really compress the bottom. Really compress that clay. That's going to help keep that strong in really, really prevented from cracking or taking any, any damage later on. And then what that also does using this type of tool to compress down, it creates a really nice clear division between the base and the wall. And that's important because when I go to lift this clay up, I'm really going to have to be conscious of not cutting into that floor and that's where you don't want to really rounded bottom when you're starting to lift the clay up, even if you're starting with a bowl, you want to have that nice distinction where you can lift the clay and then you can shape later. But now that we haven't opened up, I have my base established. We're ready to start lifting the clay. Some Adler more water. I want to make sure that this is still relatively consolidated if it's really flared out at this point, if you've, the way your hands are positioned has made this kind of a bowl shape already. Just go ahead and cone that clay back in a little bit and keep it as close to the center as possible. So when I go to lift this, I'm going to drive in with a decent amount of pressure with my right index finger you covered with the sponge. I'm going to drive in right here, right where the clay touches the, touches the bat. And from the inside, I'm going to rest my fingers right where it touches the place. They're going to be slightly offset. Slightly offset. And I'm going to push that clay out and over my right fingertip and then lift up. So creates a soul S, this little extruder. Instead of pinching it right there and creating a really weak spot. Having that offset allows that clay to never be too thin in one spot while still acting as an extra that's going to lift that clay up. I know it sounds super super simple. Let's just get a, get a pass so you can see if you can see them talking about some pressing him with this right hand. And then I'm pressing out with that left-hand. You can see that voltage there. And then as I get to the top, then I kind of get to a more even even placement of my hands because I also start to flatten my handout. I'll be pushing out really hard with my fingertips. And then as I get to the top and I don't want a thin things out as much because there's just more clay in the bottom right now. I'll start to kinda flatten my hand. And so really I'm just kinda compressing and getting a feel for that. Clay was still lifting just a little bit. That's something else you'll get a feel for it. You'll get, you'll develop your own preferences because there are so many different ways to lift the clay. So many different ways to lift the clay. And as long as the clay lifts, it's an effective technique and my boat. So don't be afraid to explore and see what other teachers have to say. All of that. Anyway, after each pole, we want to keep in mind that we want to have our clay as close to the center of the wheel as possible. And that's so we don't have to fight centrifugal force so much. We're already fighting gravity by trying to get this clay up. We don't want to be fighting centripetal force because the more of this wheel spins, the more this clay wants to be thrown out to the edges of the wheel. That's why we have to be mindful of our speed, but also mindful of how far away the clay is getting, the closer we can keep it to the Senate a less that centrifugal force is acting on your clay. So if you're worried about imperfections make and things wobbly and whatnot, a couple of things you can do is be mindful of your speed. Don't spend it too fast. But also keeping this clay close to the center as much as you can until you are ready to do your finishing shaping. And that'll help you just fight less forces as you move along. It a little more clay on there on that local level, claim the water on their little more water on the hand. And we're going to do the same thing. Press them with their right hand, press L with this left-hand. And you can see that bulge coming out over that sponge. And then I'm being careful not to lift faster than the wheel is spinning. That means I don't want to lift and keep moving my hands up before the wheels done a full rotation. Otherwise, I would just be making some really pretty spiral texture, which is all well and good. And suddenly you might want to do later, but when you're trying to lift the Clegg, you want to move slow and make sure you're collecting all the clay as you move and not just creating ridges. So let me get in here and get some more water out of here. Squeeze that out. And then I'm now remember to cone this in just a little bit. Keep this nice and collected. And I also want to compress this rim. Compression, compression, compression. It's such an important part of wheel throwing. No matter what you're working on, you want to keep this rim compressed as you, as you move along. Because as you throw, as you move along, things can get exacerbated, any mistakes, any unevenness. We'll just continue to get more and more out of whack. The more you stretch that clay out, the more of those discrepancies are going to become noticeable. So as you go along and you keep compressing, yeah, you'll lose a little bit of height every time, but you'll make sure you have this nice even tops when you go to finish things. You'll have all that clay exactly where you want it. And then if you want to alter the RAM and make it uneven, you can, and you'll have a nice thick band of clay right here to squeeze and push around in whatever you'd like out of it. But it's nice to have those options. That's, that's an important part is being able to choose when you want to have an alteration or something funky on there. It's because you put it there. Now, that's not to say we can't have our happy accidents, like Bob Ross says. But for the most part, It's really nice when you can plan those out a little bit. And it can become kind of playful at that point. You can, you can kinda know what's going to happen, what to expect from certain movements in even if you're still gonna get something chaotic and unplanned, you'll still have a sense of where that play will take you. So I'm gonna do a quick little engagement with my hands about one hand span and for three pounds. But that's fine for me. If you're just starting out. Don't expect they get that much height at three pounds, that's just fine. But I would definitely recommend challenging yourself. Not to the point where you're not making anything and you're just getting frustrated. But yeah, champ challenge yourself. It can be fun, it can be fun kinda doing the ruler contest and seeing how, how much height you can get out. So much. Anybody? And what do you say? Hey, yeah. It's the alae hound dog. You can't see. All right. Somebody get one more little, little, little lift out of this. I'm not going to use my sponge this time. I'm just going to use my fingertip so I can really get a feel for how much clay is there? Any spots that might feel too thin or anything like that? I'm not too concerned with having too many thin spots because this is such a vertical form. I'm not going to be belting it out a lot, so I'm not worried about having a lot of weak spots that I've created by stretching that clay out. Somewhat depressed his right into the pad of my little finger. And I'm also going to start kind of moving out into this shape. I want just given that a little bit at curve there and then starting to come back and a little bit. I can feel a little air bubble in there. Whoever wedge this clay did not do a very good job. Must have been one of my assistants. Surely wasn't made. They get the water at air again.
5. Shaping: And then at this point, you can start making some aesthetic choices as well. So one of the things that I find really nice is leaving these, these throwing lines in the clay. I really liked that when, when players are able to do that. And when I'm able to do it, now it's just that's just one choice and it works for a lot of the firing I do, which is wood firing, where it's a lot of atmospheric stuff. We're not applying glaze relating the would actually do. It says the atmosphere moves through the accounting, catches on all these little lines and just kinda makes them a little visual highlights that are real fun. But we're not going to worry about that. We're going to worry about taking this nice cylinder and shaping it into a bottle. So the next thing we're gonna do is get rid of all these nice stone lines by doing one final task with our wooden rib. So I'm gonna do one more lift with this wooden rib on the outs. I'll be pushing from the inside out onto this nice hard surface. And what that's gonna do is one, unfortunately lose all my beautiful throwing lines. But well, it'll create some new ones, but it will also really compress that clay and make it nice and strong. So when it goes to the firing and just in handling in general, it'll be nice and consistent, compressed, and just ready to take whatever is thrown at it. Except for like hammers and stuff don't their hammers ever. All right, So kinda similar idea, I'm not going to use quite as much water. I'm going to press out. And when would this isn't really so much as a lifting, as much as it is just a compressing feel. Some of these spots feel that little air bubble. I'm just going to push on a little bit more than my hand just to get them into general shape. But I'm looking for before we come through and do a pass with our red. And I'm always kind of scoping it out. One of the things I'm looking for when I'm scoping it out like this, are where my curves are at, where the lines are at. I want a nice even curve going all the way around. And I've found that there's a nice little quiet spot right here in the middle. Now you can see that how well my camera's going to show that. But I can see my curve is broken, but still a nice curve and then it kinda stops right there and then starts again. So I'm gonna give it just a little bit more, little bit more curve right there. Just a touch. Just to touch. So we're gonna come in with our red. And I'm just going to use that natural curve of the room. You can see where I'm pressing there. And just give it some nice easy pressure right there in the middle. And then I'm going to follow that down. I'm just going to follow that down. Come back up to the shoulder, give it a little bit. I'm just going to follow the curve of my rib all the way down and Arly applying any pressure, I don't want to let it curve on this bottle. I really love a good bottle that has a nice subtle curve. And that's hard to get. It really is, but it's, it's man as it is it rewarding? I've still got that little flat spot. I find that I can look at it from one way and I won't see certain things. But then if I look at it from the way that I don't usually grow from that. And I see all the things I've issues with because that's just how my brain works. Why not? Okay. We're not going to overthink this. That looks nice. That looks nice. It's got a little bit more moisture in there and it's pulled that out real quick. And now as one of the trickier parts of bottles, probably the trickiest part of a bottle. Maybe. Here's a part of bottles. It can be challenging. And that is taking this area right here in bringing that in to make a nice bottleneck and top. So I'm gonna do that is get my fingers wet. Kinda get this upper portion, all the bits I'm going to be using. So you can see all this curve starts to come in. And I wanted to keep coming in up to here. I just want to keep that curve moving to where I have a bottle top that's maybe about an inch and a 2.5 inches, couple inches wide. But how am I going to do that? I don't just want to squeeze it. There's gotta be a better way. And there is. Imagine that I'm gonna take my hands like I'm about to grab the pot. But then I'm just going to curl in my index fingers, just like that, grabbing something Carolinian next fingers. And that's going to create 123456 points of contact that I can then put evenly around where I want to start compressing and then just start slowly squeeze in. Nice and easy. I don't wanna go too fast or too far because you're asking the clay to do quite a few things and you're also putting a lot of torsion, torque, a lot of twist. You're applying a lot of twist. Forced to these thin walls that we just shaped and are relatively thin at this point. So you want to be conscious of that and not be grip into hard. And really keeping this nice and smooth and also remembering to compress as you go. Because kinda like when you're lifting the clay, when you start to bring it in and compress all that clay you have there. If it's uneven, it will let you know much sooner than later. Even when you have it even Still already feel that's starting to and it starts to move. So I can see my curves coming up and then it kinda bulges right back out. So I want to make sure I'm still following this curve and making sure that shoulder doesn't get too extreme. Now, the potter who taught me, told me not to move my hands. When I'm doing this, I do a lot. Sorry Kevin. Everybody finds their way, but I actually move my hands quite a bit when I'm doing this. And I think he does to you Just than someone who in a minute. But that's okay. That's it. All right. So then I'd so there's this version, then there's also like kind of a claw version. First I'm going to pull some more of this water added here. Evan, spill a little bit too much in there. Just a little bit. Get that and try to stop. Don't be more water in there. But as I was saying, if you don't want to do the six points grabbing like this, you can also do six points, Eagle Claw kind of thing. And that works better when you get a little closer. So that's very similar when you're about to grab something like this, but then you just curl on these four brief fingers, six fingers. And so then you have 1, 2, 3, 4, 5, 6, like that. And that works a little better when you start to get a lot closer to the center, you have a little bit more control because you're also using the sides of your fingers and not just these kind of singular, singular points, you get a little more surface area. So you can control things a little more, but that also creates more drag, more friction, which means the clay dries out faster and starts to catch on trans fats. Some suddenly continue to check this and they continue to work on the shoulder little bit so that it doesn't look like too much like a balloon and falls that nice line. And now we're getting into a much more workable place here. It's that compressions going well. And when I'm compressing, especially at this point, I want to be very careful not to be careful with where I'm applying pressure. So I'll support those sides of my RAM with my thumb and forefinger and my left hand not squeezing, just supporting. And then I'll use the side of my right thumb here to just press down. And I'll use these other fingers just to kinda hold things in place. Keep an eye on Miss. Keep bringing more and more and more. There we go. Now we're getting to around the width that we want.
6. Finishing Touches: And all this is also going to be preference. And also what you're trying to do with it. These bottles are, well, they're just that they're bottles. You can do whatever you want with them. Oftentimes people use them for flower displays or just nothing. We're just sitting around. And that's fine too. You actually want to use it for a bottle. That'd be pretty cool if anybody does that. But there's a lot of freedom in how you finish the top in relation to everything else. And it's important to top is also very important. You want to make sure it has a nice finish and agrees with the rest of the pot. And C has something that has nice visual attention. And looks good at a glance. That's, that can be one of the tricky things with art. Is that good first impression. Sometimes you don't want to have a good first impression. Sometimes that's the point. I like that good first impressions. I like people to look at something even without knowing much about pottery or visual tension or lines and stuff to kind of look at, look over and like, Oh looks nice to me all you want. A nice thick. So in order to finish this is a couple of things I like to do. I'm going to refine this transition point a little bit more. Just a little bit more. I don't want to get I don't want to have it be a complete my 90 degree angle or anything like that or a 120, doesn't matter. I went just a nice, easy curve but still aggressive enough that you know, where that transition happens like okay, this is now the neck. This is the body, this is the neck. And that transition is clear. And they'll continue to use my red to shape this top. And I'm always going to press down at a slight angle. One thing you don't want to do with a lot of forms, especially with bottles, is have a flat top. That kinda kills the tension, at least things spilling very kind of stagnant when you create a little curve or even just round it. But as long as it's not flat on top, it maintains some of that kind of upward momentum. And that's one of those kinda subtle detail things that you don't really need to worry about super much when you're just starting, but it's still good things to keep in mind. Announced like to give a little bit of wiggle to the top of that rim. Just kinda fun. Just kinda fun. Give it a little bit, a little zest. Feel like it. There are plenty of bottles with nice smooth rems that I mean, most of them and they look wonderful. Just whatever you want to do. All right. Now, we have pretty much everything where we want it. Now we just got to carve this clay on the bottom and get this bottle cutoff. So to do my finishing touches, I'm going to use my handy little bamboo knife that I made here. Pretty simple design. Just a piece of bamboo, cut at a couple of angles, and then ground on submit until it was relatively sharp. And it looks kinda nice than men. So I'm going to use this knife and I'm going to support the top of the bottle here. Because as I'm cutting clay out of the bottom, I'm taking a lot of that support structure away. So I want to have a hand on this so I can feel it because the bottle will start to move. It will start to respond to that Clavey and taken out of the bottom of this pot. So I'm going to keep a hand up here and start to push him, start to cut some of that clay away. But only a little bit, I'm not going to keep going. Because another thing that happens when using a tool like this, if you're just pushing in, you're going to stop cutting clay away and just start pushing it in. And then the inside of your bottle will just become more and more. Motion won't change the way it looks on the outside, but it will change the way that it feels in your hand. When you're, instead of cutting that clay out of the bottom, you're just forcing it in and keeping all that weight down there. We want to avoid that. So I'm gonna do my initial push n, which is more for the clay kind of attached to the bat. But when it comes to the clay that's still attached to the bottle. And I put my hand here and I'm going to rest the point right up here where my curve is still kinda been in place. And I'm going to take that point and start to drive it into that remaining clay. And kinda driving down somewhat at the angle that I'm going to want this to be finished that and then I'm going to push all the way down, starts to scrape of that. And I'm going to lift it away. So then I have this nice ring and clay around the base of the pot that might otherwise have just been pushed into the center. So I'm gonna cut into that just a wee bit, holding the knife. And just scrape that away. Nice and easy, nice and nice. Touch with the sponge. And then I'll come in and just kinda do another look. And then I'm just going to use, use the flat of the knife here. Since I already gone, declare that I wanted to get. And then I'm gonna go ahead and make this MOOC. Sincerity kinda took women throwing lines at them wouldn't live before. So I'm just going to scrape off all the extra slip. And this kinda smooth this out a little bit. And also it gives me an opportunity to kinda get a cleaner look at my lines and see where I didn't, did not get some of the things that I want and can kinda make some final final finishing touches. So kinda like on this shoulder that's where there's always some some issue but you know what, that looks just fine. That looks just fine. But cannot just fine. Great. And so then once we have that, so here's our wire after that. And not knock all our products over. Little by little. I like to give the wheel a little turn while I'm doing this and I'll usually wrap the wire on one part of my hand and just hold the other. I'll give it a nice little cut. You don't have to turn the wheel. I just like to do it so that I'm not pulling the clay in one direction. And also you can use a braided wire and then you can spin it and cut it off. And he creates this nice little spiral pattern on the bottom. Anyway. Now I'll take a board. We'll just put it right up here for now. Get my hands on that. And there we go. We have a bottle. Imagine map. And then we can start our cleanup process. Let this dry out and move forward from there.
7. Final Thoughts: Thanks so much for spending some time with me today. I hope you were able to learn something and they'll be sparked a desire to make something new. Bottles are a challenge. And if you find yourself in an impasse or something, just isn't going right, step away for a minute, work on something else. Remember, there's no rush here, and it's not a competition. As long as you keep trying and keep learning, you will improve. And although it might be hard, don't be afraid to ask for help. Trying to mostly our way through challenges alone is just worrisome and unnecessary when there's many people out there willing to help and he wanted to help. I hope you enjoyed today's video and they visit again soon. Bye.
Samuel Deering, Lets make some pots!
