Simple cylindrical vases, thrown from three different weights of clay, turned quickly when leather hard to a relative straight edge and finally fired in a reduction atmosphere. Some take on leads, they have a slight kick to one side that gives them motion and a character they would otherwise not. I usually scatter these across the top layer of the kiln—from right to left they fire very different as the kiln I’m using at the moment only has burners on the righthand side. Not a drastic difference, but surfaces range from very glassy to those increasingly matte, especially the whites, which can take on an eggshell, almost ivory appearance when placed in the cooler spots.
Those closer to the burners experience far more heat, prolonged heat that drags the glaze downward, forming a band of glaze around the base of the pot.
Although cylinders are arguably the most basic form a potter can throw, they are fundamentally important. They are the basis for so many shapes and being able to throw a proper one is crucial if you want to be a good thrower, making them repetitively and identical even more so. Most pots are variants of a cylinder, save low bowls and plates. Even my medium bowls are a cylinder in the first pull of clay as I achieve some height before guiding the clay outward. I’ve thrown thousands of normal, straight cylinders, mugs, jugs, storage jars and vases over the years that had to be exactly the same as those made before and after it. These vases though I don’t set my throwing gauge as to make them the perfect height and diameter. I simply try to get the most out of each lump of clay, with bases opened up to altering widths to make for slight variations in height. The only aspect measured is the balls of clay at the beginning.