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The soft-slab method has by far been my favorite method we've used in ceramics this year. The setup for the project was difficult;  I needed to make sure the dimensions for my slab were correct, and then I needed to calculate the right size cylinder to use. In fact, my project was even more difficult because I had to create a trapezoid template, since I wanted my project to fold over itself. I rolled texture onto my project, but later decided I didn't like it and took most of it off with a wet sponge. I started to incorporate additive designs, as shown through the branch-like structures on the vase. Afterwards, I made use of some additive designs and created multiple types of flowers and leaves. I cleaned everything up with a small, wet brush and set to work on using under glazes. I used crimson and dragon red, as well as lilac and forest green. I often had to use very small brushes in order to make sure the details were as accurate as they could be. I set my project out to be fired, and then glazed the main body of the vase with a crystal glaze called peacock green. The biggest challenge I faced during this project was glazing, as it was very hard to get in between and behind the small additive designs on the vase.

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I made this project using the coil method, which is the most difficult method I have yet to use in ceramics. The biggest challenge I faced during this process was making the coils; I had trouble making them even, so they kept breaking at the ends. Moreover, the clay got very dry as I was rolling it out, and began to crack in several places. In order to fix this issue, I just wet my hands and re-moisturized the clay. I used several different types of coils such as spiraled coils, braided coils, and twisted coils. This project was supposed to be based off of my spirit animal, which is a swan. I incorporated an aspect of the swan into the top of my projects by twisting two coils together, just how swans intertwine their necks. I wanted this project to have a simple, earthy look to it, so I used element chunky glazes. The two glazes I picked were Stormy Blue and Sea Spray, both of which turned out very nicely on the project

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I made this project using the pinch pot method-a method in which you create two bowls, score and slip them together, and then paddle the clay into whatever shape you wish. I looked to my favorite magazine, National Geographic (an ocean edition), and scanned the photographs for inspiration for this "Under the Sea" project. I was most interested by different varieties of coral, and attempted to create protruding pieces of coral on the side of my project. Since the photographs I found were full of vibrant colors, I decided to use a profuse number of wonder glazes on my project to create vivid contrast. I experimented with a few new tools- as this was my first project- and learned how to create small designs. Since I plan to use this project as an incense holder, I carved negative space in the coral so the smoke could flow out in an interesting way. I cut the lid along the octopus tentacles, one of the main features of my project; the corners of the tentacles form a "T" shape, so that the lid will stay in place. The biggest challenge I faced in this project was glazing. I struggled with glazing all of the small details on the project, and didn't put enough coats of wonder glaze along its bottom rim. Moreover, one of the protrusions from the kelp-like structures on my project broke of in the kiln, and I had to glue it back on.