Throwing
  My work is thrown on an electric wheel using Audrey Blackman porcelain, aiming for a wall thickness of approximately 2 mm. (1/16th of an inch) Blackman porcelain can suffer from S-cracking unless the base is relatively even in thickness.

Turning
   Initial turning is carried out with the piece still attached to the wheel. When leather hard the work is Inverted onto a sponge mat placed on the wheel head and further refined using loop tools. I use a sponge mat in order to avoid damage to the rim. The work is held onto the mat by applying a small amount of downwards pressure with a finger of the left hand. I use an LED torch to check for an accurate wall thickness, porcelain being translucent at leather hard if fine enough.

Sponging
   The vessels wall thickness is manipulated by using shellac (french polish, a type of varnish) as a resist or mask, applying this to the fully dry pot where I need to retain the original thickness and using a damp sponge to remove a thin layer of clay. This process can be repeated until either the correct surface is achieved or the pot falls apart in my hands, whichever comes soonest!

Glazing

  Work is bisque fired to 1000C, sanded to remove any shellac residue the interiors are then glazed with my own transparent glaze. This is sometimes coloured with small amounts of either oxides or stains. Glazing is by the simple expedient of filling the interior and then tipping out the excess, this can be an issue with work of this thickness as it becomes water logged very quickly. I now hold the record for the fastest glazer in the West.

Firing

  The work is fired to 1290C with a one hour soak in an electric kiln. The pieces are then sanded again with fine wet and dry paper, this promotes a silky smooth surface.

  I was suffering from a high percentage of warpage during firing until I discovered how important the kiln shelf was. I now use a spirit level to ensure the shelf is absolutely level, I also sand the shelf smooth after every other firing. This has reduced warpage to approximately 10%.

  There are many books and videos which show throwing methods, none that I have seen cover the unique problems associated with throwing in porcelain. This is especially true with very thin work. Therefore many of my techniques have been developed in response to the problems I have encountered.

  There are no definitive working methods, I find my technique alters week by week as I try differing ways to solve problems and struggle to produce that 'perfect' pot.

  The problems involved with working in porcelain are many and result in a form of masochistic torture (tears are common). There are compensations though, throwing with a smooth creamy body is a sensuous experience and taking work from the kiln that is light and translucent is always very exciting.

  Don't let the problems put you off. It's all worth it for this material.

Keep practicing!!!!