Throwing “ONE PIECE Flash Lid Jar” Version II on the Potter’s Wheel

Today's project is a One Piece Flash Lid Jar Version 2. I've observed the popularity of my One Piece series, and this technique adds diversity to the process. For today's project, I'm revisiting the creation of the One Piece Flash Lid, similar to a video I shared over a year ago. In the previous style, there was a gallery at the base pot to accommodate the lid. In today's approach, there is no gallery at the base pot. Although seemingly minor, as a maker, I need to make subtle adjustments in the process. I'm using 600g stoneware sanded clay on the small wheel back, securely attached to the wheel with wet clay. Starting with a cone shape helps center the clay and equalize its density. Maintaining a slight elevation of my left hand over my right hand avoids concentrated pressure, preventing weak points. Pressing the top of the cone from the 5 o'clock position towards the 11 o'clock with my right palm edge and my left hand receive this force. The cone is now ready, allowing me to push it down to form a base. Using my full palm edge while keeping the left hand to maintain a straight wall. The base measure about 10cm with my hand at 9cm. Creating a center hole with my right palm supported by my left fingers. Leaving about 5mm of thickness at the bottom. I slide my right hand's fingertips along the bottom towards myself, while my left hand holds the wall steady. Then from the bottom corner, my fingertips bring the clay up to the top. Repeating the same action, and when I reach the top, I compress it to prevent the edge from becoming thin and weak. Shaping the cylinder once more, I use a basic wooden whip to compress the bottom, preventing the common potter's issue of an S-crack. Now it's time to stretch the wall. Using my right ring finger to press against the bottom, while my left middle finger applies pressure from the opposite side. To ensure firmness, I compress the edge of the clay from three directions. Repeating this process results in a thinner and taller clay wall. After stretching the wall with fingers, I switch to the wooden whip to make the wall evenly flat. Using a handmade tool, I stretch the wall, also compressing the bottom and internal corners. Flip my left hand and support the wall at the 6 o'clock position. One corner of the bar is against the wall from the inside, and my left index finger is giving pressure to the bar. Slowly move my left hand up to stretch the wall. With the wall thickness now about 3 mm, it's time for closing. I mark one third from the top of the cylinder, as my guideline for closing the pot. Creating a diamond shape with two hands, I slowly squeeze from the line. Keeping the edge slightly standing up allows my fingers to catch the clay more easily. Closing the top completely, my left middle finger supports the dome from the inside, while my right middle finger slowly pushes the clay towards the center. Shaping the dome involves creating a straight wall first, and then shaping the dome. If I cut the top excess clay too early, a small hole appears, and the dome starts to weigh. At this point, I'm imagining the inside of this part to ensure I have enough clay there. A plastic card is useful for shaping the curve. Using a bamboo chopstick for takeaway, I cut the end at an angle, making a nicer gutter when pressed onto the jar. As I press the jar, the body starts to bury out. To maintain a straight wall, I make an air vent hole to release trapped air. Then carry on the same track. I slowly push the chopstick in. When I make a gallery in the jar, I would stop at this point. Today I want to make a jar without a gallery, so I need to make a lid catch much deeper. The jar body is swelling, so I open the air vent hole again. This hole should be kept open during the drying process. Otherwise, the pot will be cracked as the trapped air can't escape. This is very important. The jar edge starts to appear clearly, so I can stop now. I trim the bottom corner to make a good circle. If I didn't cut the bottom corner, when I use the string to separate the jar from the pot, the string drags the clay and distorts the circle. The perfect circle is essential for a top centering performance. The jar is dried overnight. It's just a little bit softer than a leather hard stage. I still need to push the gutter in, so the clay needs flexibility. This jar is a without gallery style, so I want to have the lid catch further inside. I give moisture to the jar. This will ensure good contact. Then top centering. I push the corner clay to the wheel. This will secure the jar in position. I use a bamboo chopstick again to make the gutter deeper. This angled side is facing the clay. Push the chopstick very gently. I felt a wavy resistance means the air is trapped inside. I reopen the air vent at the same place. This pinhole will be closed during the main part trimming later. I can stop now as there is enough thickness at the jar edge. A thin needle is good to separate the pot. A sharp knife can easily catch the clay and lead out of the direction. I'm going to trim the lid first. I use a small wooden piece for this delicate part. I set the silver turning spinner at the center. This spinner has a bearing between the two discs. And the top disc stays under my finger. And the bottom disc spins with clay. You can buy it online. Clean the inside of the lid with a plastic card. The difference between with gallery and without gallery. The photo doesn't show much difference. But the real jars show subtle character changes. I'm going to trim the jar edge. I want to flush the internal wall. The lid fits nicely. Now I need to trim the outside. This part is sticking out. I trim the side to make a straight wall. Then slice the lid. Now trim the wall again with a new matching point. Slice the lid again and repeat the same action to make the lid and the body match well. I smooth the joint parts with my fingers. I'm going to separate the pot from the wheel. Trim the base edge first. Then push the metal kidney to the wheel very hard. And slowly slide it under the pot. I'm going to make a flat bottom. After the top centering, secure the pot with three pieces of clay. Gently push the clay on the wheel first. Then lightly press it to the pot. I trim the corner at an angle. So this becomes a glazed end line. Also a less sharp angle corner is stronger than the sharp one. One way to avoid chipping. Now trimming the flat footweave which is about 1 cm. From the footweave, polish the bottom towards the center with slight pressure. So this part will be lifted from the table. I want to minimize contact with the table. Ensuring the lid and base fit nicely. I dry and fire them as they are. After the disc fire, I wax the pot before glazing. Ensuring the joint part and bottom are covered. Thank you for joining me in today's pottery process. I hope you enjoyed watching. Feel free to try this method yourself. Happy creating and I'll see you in the next pottery video.