The rest of the day wes just enough time to finish all of
yesterday's pieces, fle pulled flat or rounded handles, some-
times allowing the tail of the handle to ripple down in loops.
Large planters or flat serving bowls had two or four of these
robust decorative handles on their rims, making further decor—
ation unnecessary.

He made elegant tall-spouted jugs from flaring cylinders
by cutting away almost everything but the spout. These and
other forms were often altered by a precise vertical smack
with a ruler on either side. If the base of the piece was
removed first, the overview of the form would take on a figure
eight shape. This would be joined to a slab base.

The most novel idea for me was to remove the base of a piece
and cut a wedge-shape from the lower edge of the bottomless pot.
This gives the piece a permanent tilt. It can be rejoined to
the original base, or amacked into a new shape and given a
Blab base. In the case of a jug or teapot, the spout was al-
ways tilted upward. Two-piece jugs would have the top half

tilted, —
B
wedge — = _—*

base removed new base voila!

One teapot was thrown like a flower pot. It was trimmed,
and had a concentric hole cut in the base for the lid. That
was when we realized that it had been thrown upside down!

It's sides were emacked and cut to tilt backward, then set on
a slab base. The cylindrical spout was also smacked along
its length before joining to the pot. A long flat handle
(pulled or extruded) shot over the teapot to attach near the
spout's end, "alter said, "A lot of these techniques have
grown with the ideas = I use a technique on one piece and ask
myself where I can use it somewhere else,"

He used to raw-glaze the inside of hia pieces and once-fire
them, but long firings and cracking had him change to bisque
firing first. He often uses coloured slip on the outside of
hie work. “alter does a reduction firing and salts at cone 9,

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