Hand-Building Techniques
A join is not glue. It is a weld.
Scoring and slipping is the most taught and least understood move in pottery. Done properly, two pieces of clay stop being two pieces of clay and the seam stops existing. Done in a hurry, you get a handle that stays on for three weeks and then leaves your mug on a kiln shelf. Here is the whole thing: what is actually happening in there, the method in order, what to join with, and every way it goes wrong.
Written for members of The Clay Hole and useful to anybody with clay on their hands. Every video on this page belongs to somebody else, all seven are free, and nothing from YouTube loads until you press play.
Written for members of The Clay Hole and useful to anybody with clay on their hands. Both videos belong to somebody else, both are free, and nothing from YouTube loads until you press play.
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Videos come out as a labelled box with the title and channel to search for, since paper does not play them.
The whole idea
Two pieces of clay become one piece of clay, or they do not.
The only question that really matters
Are both pieces the same wetness? Almost every join that fails was made between a wet piece and a drier piece. They shrink by different amounts on the way to bone dry, and the drier one pulls away. Match the moisture and most of the rest is technique you already have.
Slip is not glue and scoring is not decoration. The scratches let the two faces key into each other, the slip fills those scratches and softens the cut edges so they can move again, and the press drags the two clays into each other until there is no boundary left.
That is the test for the whole page. If you can still find the seam with a fingernail after you have blended it, the kiln will find it too. A join you can see is a join that has not happened yet.
What you want on the table: a needle tool or a serrated rib, a small pot of slip made from the same clay you are working in, a soft brush, and a wooden modeling tool for blending. That is it. Everything else on this page is detail.
You are reading the Nutshell Version. The switch above opens the long one, which covers what is physically happening in a join, five things to join with, four kinds of join, and drying.
Why this page reads like this
Watching teaches your hands. Reading teaches you the order.
Read a section, watch the person do it, then go and do it yourself. Or watch first and read after. Both work. Doing only one of the two is the version where you stand at a table three weeks later wondering why the handle came off.
Nobody can write down how hard somebody presses. Pressure, angle, how far they wiggle the piece before they let go, how much slip is too much slip: you have to see hands do it. That is the one thing film is unbeatable at, and it is the reason there are seven videos on this page.
But film is a terrible reference. You cannot skim it. You cannot jump to move four. You cannot scrub a timeline with slip on your fingers, and you cannot search it three weeks later when you have forgotten which way round the scoring goes. Text holds still. You set the pace, you re-read the one sentence you needed, and setting your own pace turns out to be most of what makes a thing stick.
So this page is both, deliberately, and it is built to be held up on a phone at a wet table with your hands busy. Nothing loads from YouTube until you press play, which also means the page opens fast on studio wifi.
None of these videos are ours. Every one is somebody else’s work, credited by name and channel, and pressing play sends the view to their channel where it belongs.
What is actually happening
The seam is the weakest place on the pot until you delete it.
Three stages of the same join, in cross section. On the left, two faces just pressed together. In the middle, both faces scored and slipped. On the right, the join after it has been pressed and blended, which is the only one of the three that is going to survive a kiln.
- 1Two smooth faces pressed together. Surface tension will hold them for a day and nothing else is holding them at all. That flat plane is the weakest line anywhere on the pot.
- 2Crosshatch cut into both faces, roughly a millimeter deep. Every groove is somewhere for the other piece to key into, and every cut exposes fresh clay that can still move.
- 3Joining slip worked down into the grooves. It fills them, it softens those cut edges back up, and it carries clay particles across the gap so there is something there to bond.
- 4A bead of slip squeezed out all the way around. That bead is your receipt. It says you used enough slip and enough pressure, and it says the air went sideways instead of staying in the join.
- 5A thin coil blended into the inside corner. A fillet spreads the load off the seam line, which is the exact line a crack was going to follow.
- 6The seam, gone. Clay from each piece dragged into the other until there is no boundary left to find with a fingernail. This is the part people skip, and it is the part that does the work.
Why two smooth faces will not stay stuck
Wet clay sticks to wet clay the way two wet panes of glass stick together. It feels convincing at the table. But there is nothing mechanical happening: no interlock, no clay dragged across the line, just water holding two flat surfaces against each other. As soon as that water leaves, so does the bond, and every bit of shrinkage after that is pulling directly on a flat plane with nothing keyed across it.
Scoring converts a flat plane into a rough one with a much larger surface area, and blending converts the rough plane into no plane at all.
Why a mismatched join cracks even when the technique was perfect
Clay shrinks as it dries and it shrinks again when it is fired. A piece that is leather hard has already done some of that shrinking. A piece that is soft has not done any of it yet. Join those two and the softer one keeps shrinking after the join is made, while the stiffer one mostly sits still, and the difference shows up as a hairline crack that runs right around the seam.
Nothing you do at the join beats getting the moisture right beforehand. This is the whole ballgame.
Non-negotiables
Six things every join needs, whatever you are attaching.
These are the same for a handle, a slab seam, a coil, a sprig, a spout and a foot ring. Get all six and the technique below is almost a formality. Miss one and the technique cannot save you.
The same clay body
Different clays shrink by different amounts, so a porcelain handle on a stoneware mug is a crack with a date on it. We stock eight clay bodies and every one of them joins beautifully to itself. Mixing two of them is the one shortcut with no upside at all.
The same wetness
Both pieces leather hard, or both pieces soft. Leather hard is the easiest place to meet, because it holds a shape and still takes a score. If one piece is drier, wrap it in plastic for an hour and let the moisture even out before you touch it.
Real scoring, on both faces
Crosshatch you can catch a fingernail in, in two directions, across the whole footprint. Not one face. Not a polite little scratch. If you can wipe the score marks away with a thumb, they were never going to hold anything.
Slip made from your own clay
Slip is clay and water, and it should be the same clay as the two pieces it is joining. Thick as heavy cream, not thin as milk. Whatever is in the general purpose bucket by a sink is somebody else’s clay body and is not joining slip.
Pressure, not placement
The join is made by the press, not by the slip. Push the pieces together hard enough that a bead squeezes out all the way around, wiggle a few degrees so the air goes sideways, and support the far side of the wall so you are not denting one thing while attaching another.
A slow, even dry
Most failed joins fail on a drying shelf, not in a kiln. A thin handle dries far faster than the thick mug it is stuck to, and the difference in shrinkage pulls the seam apart. Bag it loosely, keep it off the draft, and let the whole piece dry at one speed.
The honest part
You will meet potters who score without slipping, slip without scoring, or do neither on very soft clay and get away with all three. They are not lying and they are not wrong. Soft clay to soft clay, blended hard, genuinely does hold. What they have is years of feel for how soft is soft enough, and that feel is the thing you are building right now. Until you have it, do all six. It costs about forty seconds.
The method
Every join, in nine moves.
Every join, in six moves.
This sequence works for a handle, a slab seam, a coil course, a sprig, a spout, a lug and a foot. Learn it once in this order and it stops being something you think about. The two moves people skip are number four and number seven, and between them they account for most of the joins we see come apart.
This works for a handle, a slab seam, a coil, a sprig or a foot. The two people skip are three and five.
Before you start
Have the slip made and the tools out before either piece is in your hand. A join made while you are looking for a brush is a join made on drying clay.
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Match the moisture first
Before anything else, check that both pieces are the same wetness. Leather hard is the easiest place to meet. If one is noticeably drier, wrap it for an hour and come back. If one is much wetter, let it stiffen. Do not try to solve a moisture difference with extra slip, because you cannot.
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Dry-fit it and mark the footprint
Hold the piece exactly where it is going and look at it from the front, not from above. Then scratch a light outline of the footprint with a needle tool so you are not guessing about placement later, when both hands are covered in slip and the clock is running.
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Score both faces, and score them properly
Crosshatch about a millimeter deep, in two directions, across the whole footprint and slightly past it. You should be able to catch a fingernail in the grooves. A serrated rib does this far faster than a needle tool. Both faces, every time. Scoring one face is scoring nothing.
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Slip both faces, and work it in
Same clay body, thick as heavy cream. Brush it down into the grooves rather than laying a coat on top of them. Both surfaces. This is the single most skipped move on the list, and it is skipped because slipping one side looks like it worked.
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Press, wiggle, and look for the bead
Push the two pieces together, rotate a few degrees, then settle. That small wiggle drives trapped air out sideways. A bead of slip should squeeze out all the way around the join. If nothing squeezed out, you did not use enough slip or enough pressure, and you should take it apart and start again.
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Support the far side while you push
Every pound you push into a wall goes somewhere. Put a hand, a fist, a damp sponge or a rolled towel behind it. Otherwise you attach a beautiful handle to a mug that is now slightly oval, and you will not see it until the piece is on the shelf.
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Blend the seam until it is gone
Drag clay from one piece onto the other with a wooden tool, working all the way around, then smooth it with a fingertip or a soft rib. Inside first wherever you can reach. The goal is not that the seam looks tidy. The goal is that there is no seam.
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Reinforce with a thin coil where you can reach
Lay a thin coil of the same clay into the inside corner and blend it out in both directions. This is standard practice on slab boxes and it is just as useful inside a teapot or under a foot ring. A fillet moves the stress off the seam line and spreads it over a curve.
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Clean up damp, then slow the dry
Wipe the squeeze-out with a barely damp brush, not a loaded sponge. A wet sponge softens the join you just made and lifts the slip back out of it. Then bag the piece loosely and let the join dry at the same speed as everything around it.
Using Slip and Score to Join Clay
The Pottery Wheel
The clearest unhurried walk through the basic move that we could find. She scores, slips, presses and blends on camera at a pace you can copy, and she keeps the camera close enough that you can see how deep the scoring actually goes. Watch this one first. Watch it on YouTube.
The same nine moves, on the join everybody actually makes
A mug handle is the hardest version of this, because it is a small contact patch carrying a lever, it has two attachment points that dry at different rates, and everybody touches it forty times before it is finished. If you can attach a handle cleanly you can attach anything.
How To Attach A Handle And Prevent It From Cracking
Calder van Andel
Three handle shapes, attached three times, with the cracking problem treated as the main subject rather than a footnote. Pay attention to how much he presses and to what he does with the seam afterward. Watch it on YouTube.
There is a longer version of this page behind the switch at the top, with what to join with, four kinds of join, and how to dry one without losing it.
What goes in the join
Slip, magic water, vinegar, or nothing at all.
Five things people brush into a join, and one thing people brush into a join that does nothing. None of them replace scoring. All of them are wet, and wet is not the same as sticky.
| What you brush on | What it actually is | Best for | What to watch |
|---|---|---|---|
| Slip from your own clay | Clay and water, same body, thick as heavy cream | Almost every join you will ever make | It has to be the same clay body. Slip from a different clay shrinks at a different rate and takes the join with it. |
| Slurry off the wheel | The throwing slop already sitting on your bat | A fast join on a piece you just threw | Only right if it came off this pot. Slop from a shared surface is usually a blend of whatever ran through last. |
| Magic water | Water with a little sodium silicate and soda ash in it | Long slab seams and stiff leather-hard joins | It is thin, so it wets and loosens rather than filling. Brush it on the scoring, then slip on top of it. It is a helper, not a replacement. |
| Vinegar | Plain white vinegar, brushed straight onto the score marks | Small applied pieces and quick fixes on stiff clay | Works because the acid changes how the clay particles hold together, so the surface gets tacky fast. Also smells, and still does nothing without scoring. |
| Paper clay slip | Slip with a small amount of paper pulp blended into it | Joins onto clay that has gone drier than you wanted, and repairs | The fibers burn out in the bisque and leave the bond behind. A very good rescue and a poor habit. Do not build a whole pot on it. |
| Plain water | Water | Nothing structural | It wets a surface and carries no clay into the join. It is why a join can feel strong at the table and be gone by Thursday. |
If you only take one line from this table
Slip made from the clay you are actually working in beats every other option on this list, every time, for free. Everything else is a situational tool for when the clay has gone stiffer than you meant it to.
How to Make and Use Superior Joining Slip
Martha Grover, on Ceramic Arts Network
Four minutes on why the slip itself is worth caring about, from a potter whose work is held together by a lot of attached parts. Watch it on YouTube.
How to Use Magic Water for Strong Joints
Amy Brummond, on Ceramic Arts Network
What magic water is, what goes in it, and where it genuinely helps. Worth watching before you decide whether you need any, which most people at a community studio do not. Watch it on YouTube.
Make your own
Good joining slip takes four minutes and costs nothing.
Label the tub
Write the clay body on the lid the day you make it. Two unlabeled tubs of brown slip on a shelf is how a porcelain handle ends up attached with stoneware slip, and nobody finds out until the bisque.
Joining slip is clay and water. That is the entire recipe. What matters is that it is your clay and that it is thick enough to fill a groove rather than run out of one.
Three ways to make it, best first
- From bone-dry scraps. Break your dry trimmings into small pieces, drop them in a lidded cup, and just cover them with water. Leave it an hour or overnight. Stir. Dry clay slakes down evenly, so this gives you the smoothest slip with no lumps and no effort.
- From soft clay. Mash a lump of soft clay into a cup with a splash of water and work it with a stiff brush or a fork until it is smooth. Faster, slightly lumpier, perfectly good.
- From the piece in front of you. Scrape a little clay off the piece you are working on, add water, mix. It is guaranteed to be the right body, and it is the move to reach for when you are attaching something and realize you have no slip.
Getting the consistency right
- Heavy cream, not milk. It should sit on a brush and drop off slowly, not run.
- If it is too thin it fills nothing and dilutes the join. Let it settle and pour the water off the top.
- If it has gone hard in the tub, add water, wait, then stir. Do not stir first; that is how you get lumps.
- A splash of vinegar makes it tackier for stiffer joins. Optional, and it will smell.
- Keep a lid on it. Slip that skins over is slip with a different water content than the slip underneath it.
A squeeze bottle with a fine tip is genuinely useful for long slab seams and awkward inside corners. We keep a six-pack of applicator bottles with various tips in the studio if you want a set of your own.
Four joins, four quirks
The method never changes. What can go wrong does.
The nine moves are the same everywhere. What changes is which move you have to be fussiest about, and that depends entirely on what you are sticking to what.
Round onto round: handles, spouts, lugs, knobs
The hardest one. A small contact patch is carrying a lever, and there are two attachment points that dry at different rates because one is up in the air and one is against the wall. Score wider than the piece so the join has somewhere to spread. Support the wall from inside while you press, and expect the top attachment to be the one that cracks.
Flat onto flat: slab seams
Long joins have a lot of length to fail along, and every inch you skip is an inch that will open. Score the full length, slip the full length, press the whole seam rather than the ends, and put a coil into the inside corner afterward. Then paddle the outside corner gently with a wooden paddle to compress it.
Slab mugs and slab molds
Coil onto coil
Every course is a join, which means a coil pot is fifty joins in a row and one bad one is enough. Blend both faces, inside first, and alternate the direction you blend so the wall does not lean. Stagger where the coil ends meet rather than stacking the joins on top of each other.
Applied detail: sprigs, feet, buttons, bases
Thin applied pieces dry much faster than the pot they are sitting on, so they arrive at the join already ahead. Press from the center outward so no air is trapped under the middle, compress every edge all the way around, and clean up with a damp brush instead of a sponge.
Tips for Making Strong Joints on Slab Built Pottery
Lisa Naples, on Ceramic Arts Network
Eleven minutes on the long seam, which is the join that punishes impatience the most. Watch what she does to the corner after the two slabs are already stuck together, because that part is the difference between a box and a box that stays a box. Watch it on YouTube.
Thrown sections count too
Joining two thrown pieces into one tall pot is the same nine moves on a much bigger contact ring, with the added job of getting both rims flat and the same diameter first. That one has its own page.
Where joins are actually lost
The kiln usually gets blamed for what the shelf did.
A join that cracks in the bisque was almost always already cracked before it went in. The firing just made it obvious and gave you somebody else to blame.
Look before it goes in
When a piece is bone dry, hold the join up to a light and look straight at the seam line. If a crack is coming, it is visible now. That is the moment to catch it, because after the bisque your options get much worse.
Everything you did at the table was to stop the two pieces shrinking away from each other. Drying is when the shrinking actually happens, so drying is where the join is either fine or lost.
The rules, in order of how much they matter
- Even beats slow. A whole piece drying evenly at a normal speed will outlast a piece drying slowly on one side and fast on the other. Rotate it if one side faces a window.
- Slow the thin part, not the thick part. The handle is what is racing ahead, so the handle is what gets covered. A strip of plastic over just the handle, with the mug body left open, evens the whole thing out.
- Bag it loosely for the first day. Loosely. A tightly sealed bag stops drying altogether and the piece just sits there wet.
- Off the draft. Away from doors, fans and anything blowing air, until the join has caught up with the rest of the piece.
- Upside down at the end. A rim and a foot dry at different rates. Flipping the piece for the last stretch evens that out and keeps the base flat.
- Do not rush a join with heat. Warming one part of a piece is the fastest way to make the two sides of a join disagree about how big they are.
No more cracks!
Pottery to the People
A calm, practical run through why cracks happen and what to change about the way you dry things. Most of it is about joins even where it does not say so. Watch it on YouTube.
When it goes wrong
Seven ways a join fails, and what actually caused it.
Three ways a join fails tonight.
Every one of these is common, every one of these has happened to everybody who works here, and every one of them has a cause you can do something about next time.
All three of these happen at the table or on the shelf, which means you can still do something about them.
It will not stay put while you work
The clay is too soft to carry its own weight, or you have not pressed hard enough to make an actual bond and are relying on the slip to be sticky. Let both pieces stiffen toward leather hard and press harder. If a handle keeps sagging, it wants to be firmer before it goes anywhere near the mug.
A hairline crack opened around the join within a day
Moisture mismatch, nine times out of ten. One piece was wetter than the other and kept shrinking after the join was made. The other cause is a join that was never blended, only stuck. You can sometimes save it: work slip into the crack, compress it closed with a wooden tool, and bag the piece for two days.
You can still see the seam after blending
Then it is not blended, it is glued. Smoothing over a seam with a wet finger moves slip around without moving any clay across the line. Go back with a wooden tool and actually drag clay from one piece onto the other, then smooth. If a fingernail can find it, the kiln can too.
The handle came off in the bisque firing
Look at the two broken faces. If they are smooth and shiny, there was slip in there but no weld, which means not enough scoring or not enough pressure. If they are rough and dry looking, there was not enough slip. If there is a clean flat plane with no score marks at all, it was never scored, and we have all done that once.
The join is fine but the wall behind it is dented
You pressed without supporting the far side. Nothing to do about it now beyond a gentle push back from inside if the clay is still soft enough. Next time, a fist or a damp sponge behind the wall while you push.
There is a ghost of slip smeared around the join under the glaze
Squeeze-out that got wiped with a wet sponge instead of cleaned off. A loaded sponge smears a thin film of slip across the surrounding surface, and that film has a slightly different texture that glaze then reports on faithfully. Clean up with a barely damp brush, and do it while the slip is still wet.
The seam opened in the glaze firing after surviving the bisque
The join was weak but intact, and the glaze firing found it. Glaze also tends to pool along a seam and pull at it. Not much to be done after the fact, but it is a useful signal: the technique that produced that join needs another look, because it is passing the easy test and failing the hard one.
A sprig or a foot fell off and you never noticed until the kiln
Small applied pieces come off because they were pressed on flat and trapped air under the middle, or because they dried much faster than the pot. Press from the center outward next time, and cover the applied piece for the first day so it dries at the same speed as everything else.
Can You Repair A Handle Crack Once It’s Bone Dry?
Old Forge Creations
An honest test of the repair everybody wants to believe in, run properly and reported straight. Worth seven minutes before you spend an evening trying to save something. Watch it on YouTube.
For bone-dry and bisque repairs
We keep Clay Mender in the studio for exactly these situations, and it does work on greenware and bisque. Treat it as a rescue rather than a method. A piece held together by mender is a piece you got lucky with, and the fix for next time is upstream at the join.
Leave this open
The whole join on one screen.
Everything above, compressed to the part you need while your hands are busy. Nothing on this page loads anything, so it stays put on a phone screen at a wet table.
The loop, every single time
- Check both pieces are the same wetness.
- Dry-fit it. Look from the front. Mark the footprint.
- Crosshatch both faces, a millimeter deep, two directions.
- Slip both faces, worked into the grooves.
- Press, wiggle a few degrees, settle.
- Check for a bead of squeeze-out all the way around.
- Support the far side of the wall while you push.
- Blend clay across the seam with a wooden tool. Inside first.
- Coil into the inside corner if you can reach it.
- Clean up with a damp brush. Never a wet sponge.
- Bag it loosely and cover the thin part.
The numbers
- Score depth: about a millimeter. Deep enough to catch a fingernail.
- Slip thickness: heavy cream. Drops off a brush slowly.
- Both pieces: leather hard, or both soft. Never one of each.
- Squeeze-out: all the way around, or take it apart and redo it.
- Loose bag: 24 hours minimum, longer for anything with a handle.
- Bisque: cone 05. Glaze: cone 5½.
Three things that undo good work
- A wet sponge on a fresh join.
- A fan, a heater or an open door on a drying shelf.
- Two different clay bodies, however similar they look.
Asked every week
Joining questions, answered plainly.
If your question is not here, ask anybody on shift. Nobody in this building has ever thought less of somebody for asking how to stick two bits of clay together.
Do I really have to do both? Can I just slip it?
Slip on its own is a thin layer of wet clay between two smooth faces, and it dries and shrinks like everything else. It gives you no mechanical key at all. Scoring is what makes the join more than a wet contact patch. If you are going to skip one of the two, skip neither, because slipping without scoring is the version that feels right at the table and fails later.
Can I attach something to bone-dry clay?
Not reliably, and not as a plan. Bone-dry clay has finished shrinking, and anything you attach to it has not. The join will be under tension from the moment you make it. Paper clay slip and Clay Mender both improve your odds on a repair, and neither turns it into a good idea for something you are still building. If a piece has gone bone dry before you attached the handle, the handle is a next-pot problem.
Can I join two different clay bodies?
No, and this one is worth being strict about. Different clay bodies shrink by different percentages both in drying and in the firing, so the join is pulling itself apart on a schedule. Two clays that look nearly identical wet can behave very differently at cone 5½. If you want a color contrast, use underglaze or a slip decoration rather than a second clay body.
How deep is deep enough?
About a millimeter, which is deeper than most people go. The practical test is a fingernail: run one across the scoring and it should catch and skip rather than slide. If the marks disappear when you brush slip over them, they were surface scratches.
Is magic water better than ordinary slip?
It is different rather than better. Magic water is thin, so it wets and softens a stiff surface quickly, which is useful on long slab seams and on clay that has gone drier than you meant. It fills nothing, so it is not a slip replacement. Brush it on the scoring, then slip on top. For most joins made at a community studio, slip from your own clay is doing the whole job already.
My slip has gone hard in the tub. Can I bring it back?
Yes. Add water, leave it alone for an hour, then stir. Adding water and stirring immediately produces lumps that never really go away. If it has fully dried into a solid disc, break it up first and slake it like bone-dry scraps, which is the best way to make slip in the first place.
Do I need to score if both pieces are really soft?
Very soft clay to very soft clay, blended thoroughly, genuinely does hold. Plenty of experienced potters attach soft handles with nothing but pressure and a good blend. The catch is that the judgment call is the hard part, not the technique, and getting it wrong costs you a piece three weeks later. Score and slip until you have enough failures behind you to know the difference by feel.
Can a join be fixed after the bisque firing?
Sometimes, and never as well as you would like. Clay Mender is made for it and can hold a bisque repair through a glaze firing, with no guarantee. The honest answer is that a bisque repair is a rescue for a piece you care about, not a technique. If you find yourself doing it often, the fix is at the table, in move four and move seven.
Why does my handle always crack at the top and not the bottom?
Because the top attachment is usually the one made in a hurry, on a smaller contact patch, at the point where the wall is thinnest. It is also the one carrying the weight when somebody picks the mug up. Score the top attachment wider than feels necessary, press it harder than the bottom one, and blend a little extra clay into the upper join.
Go stick something to something
Nobody has ever learned this by reading about it.
Every potter whose work you like has had a handle come off in a kiln, and most of them have had it happen more than once. What changed for them was not talent. It was that they stopped treating a join as a moment of hope and started treating it as a sequence with a check at the end of it.
Match the moisture. Score both faces. Slip both faces. Press until it squeezes out. Blend until the seam is gone. Then dry it slowly, and go and get it wrong a few times on mugs that do not matter yet.
Pulling and Attaching Handles
Five ways to make a handle, what every one of them needs, and the drying schedule that keeps it attached.
Blending Coils
Fifty joins stacked on top of each other, and the four habits that stop any of them showing up later.
Sprig Molds and Sprigging
Making the mold, pressing a clean sprig, and attaching it so it is still there in three weeks.
Slab Mugs, Start to Finish
The longest seam most people ever make, and how to build one that survives being picked up by it.
Clay Hole University
Every lesson we have written, sorted into departments, with quizzes and a tracker for the ones you have finished.
Ask the FAQs page anything
Studio rules, firing costs, membership questions, and the things people are a little afraid to ask out loud.
Every video on this page belongs to the potter who made it and all seven are credited by name and channel. Nothing loads from YouTube until you press play.
You are reading the Nutshell Version. The switch at the top of the page opens the comprehensive one, which adds what is happening inside a join, five things to join with, four kinds of join, drying, and five more videos.