In order to receive the desired form most frequently I use slab building, but also sometimes wheel throwing, and rarely slip casting. The example of the entire step by step procedure will be given in one case study, It is a slab built object named "The Sign 1"
   First I wedge The clay on the wheel by pushing it up and down, and turn the cylindric form without a bottom. Next step is to open the cylinder, and pass it through the slab roller. This is the way to receive slab, and be sure there are no air bubbles inside。

    Since the form is strictly connected with decoration, I always have a very precise paper sketch. I cut the slab, join the parts and obtain the form. The moment of connecting the parts is very important because porcelain has to be dry enough to stand, but wet enough to join well. If this is not done properly it cracks along the connecting line when drying or firing. Also to prevent the line of connection to be seen after firing I cut edges of slab obliquely

    Once the form is dry I rub the surface with sand paper in order to make it smooth, and start painting it with engobes. The engobe is a mixture of porcelain, commercil pigments or metal oxides up to 10%, and 2% transparent glaze. As Protection I use liquid gum( Latex). I draw the decoration with pencil, protect the parts of surface not to be colored, and usually spray engobe, sometimes I use brush. I can use as many colors as I wish, only I always have to protect those parts I have sprade or the ones I want to stay white. Liquid gum ruins the brushes, So I use plastic cheap brushes, and put some liquid soap on them before use ,so they last longer and are easier to wash.
    If the surface I have to cover with engobe is too large, porcelain can crack because of too much water. To prevent that, sometimes I make low bisque fire(700℃) and then apply engobe and rebisque at 1000℃. After the object has been bisque fired I rub it again with fine and sand paper.
    The next step is to protect engobes and to spray glaze. Then I fire to high temperature usually to 1250℃ oxidation fire in electric kiln. As my studio is in the center of a big city without gas installation , I have to use electric kiln , although I would prefer a gas one. Some pieces I fired while working in "Atellier Balkert" in Switzerland in a gas kiln ,came out nicer.
    Once fired at high temperature, I start spraying the shadows, because I like my decoration to give a three dimensional illusion. I use air brush and black overglaze mixed with medium. The protection is done with pieces of paper stencil. Then I refire to 760℃slowly, once fired to high temperature can crack.

     I finished a very  classical art university, and was taught certain rules (for example. it was not recomanded to combine different materials. or make things separately and glue them after firing). So I have had problems when imagining something on the verge of stability. After some when imagining on the verge of stability. After some hesitation I decided to neglect what I was taught. Now I think that many rules are frustrating ,preventing us to make the imagined.
     As you see from my material, unstable forms and vases are made from separate parts. I use very strong epoxide glue mixed with grog. and if necessary metal screws to fastens pieces together.
    In the end "The Sign I" was glued together (3 parts). The vertical body was made out of a mixture half porcelain half havy groged stoneware clay mixed with sawdust. After the bisque fire. small holes temperature. The small bottom leag and the long vertical body are connected with a long metal screw and strong glue.
    Works from the group were decorated and fired in a different technique than all other works. I used local low fire red clay. All of them are slab built forms. Before firing they were brush decorated with terracotta, red and while, and polished with a peace of leather to very shiny surface.
    As they were made and fired in one village where people fire their pots in a traditional way, my objects were fired that way also. It means they were fired in open wood fire, where ceramic objects are placed between two layers of wood.
   

    Objects must be very dry because the process is over very quickly, about one hour to 700℃~800℃. Object get smoked and you cannot control the process. The clay is very resistant to thermal shock, and when you take it out they are at about 500℃, so you can darken them by throwing some organic materials on them. If the results are not satisfactory the process can be repeated until you are satisfied.