WHEEL THROWING

The wheel-throwing techniques of Hasami were originally developed for large-scale production.

While traditional workshops cannot be directly compared to modern mass production, potters were still expected to produce a high number of pieces of the same size each day.
Over time, this led to the development of a highly efficient system in which every movement of the hands has a clear purpose.

A variety of specialized tools were also created to support shaping and precise measurement.

At CROC, we focus on learning these traditional techniques.

Participants come from different backgrounds and may have their own ways of throwing, but during the program we concentrate on the methods that have been passed down in Hasami. Even if you do not continue using these exact techniques in the future, we believe that immersing yourself in this way of making for several weeks will deepen your understanding of the forming process and provide valuable insights for improving efficiency in your own practice.

The program is structured as a step-by-step curriculum. Depending on individual skill level and motivation, participants will progress at different speeds. However, the overall goal is to be able to consistently produce pieces of the same shape and size, with uniform thickness and without distortion. Once this foundation is established, adapting to other forms becomes much easier. For this reason, the core of the training is centered on making rice bowls.

1

Wedging / Tsuchikone

As the first step of wheel throwing, we begin by preparing the clay.

Wedging ensures an even consistency and removes air pockets, creating a stable foundation for the forming process.

In this program, we introduce spiral wedging and focus on developing coordination between body movement and hand technique to work the clay efficiently.

However, wedging is a skill that takes time to master and cannot be fully learned within a short period.

For this reason, while we teach the fundamentals, participants may also use a vacuum pug mill, allowing them to focus on the core aspects of forming.

2

Centering /Agesage

Centering is one of the most important steps in wheel throwing, as it directly affects the accuracy of all subsequent processes.

As we teach throwing off the hump, we begin by centering a larger amount of clay — about four kilos.

Therefore, we pull up the upper part of the hump, stretching it into a thin, elongated cylinder, and then press it back down again.
This process is called age-sage (“up and down”).

Repeating this movement several times helps to release tension in the clay and creates a smooth, even structure, ready for shaping.

3

Throwing Hama

Hama are small kiln supports traditionally placed under pots to prevent distortion during firing.

Despite their small size, throwing hama offers a compact overview of the entire process — from centering and one-handed shaping to using a simple atebera and cutting the piece off the hump with a cutting string.

Because of their simplicity, even the smallest inaccuracies become visible, making hama a powerful exercise for refining fundamental skills.

4

Throwing Rice Bowls / Chawan

Now it’s time to apply what we’ve learned in the previous steps to throwing rice bowls.

We introduce traditional tools such as nobe-bera for stretching the clay evenly, ate-bera for shaping the interior, and tombo for measuring size.

Each movement has a clear function.
Through repetition, participants learn to internalize the process and achieve consistent results.

5

Trimming

During trimming, the piece is placed upside down on a chuck and refined using several types of trimming tools (kana).

The process begins by precisely centering the chuck on the wheel. Once set, it remains in place, and each piece is centered on the chuck in turn.

Once centered, excess material is trimmed away while the piece is stabilized with the fingers.

Control of wheel speed, a steady grip, and the correct blade angle are essential to avoid chatter and achieve a smooth surface.

We begin with hama before moving on to rice bowls.

6

Advanced: Cups

Once participants can consistently produce rice bowls, they move on to making cups.

Cups require vertical extension, which changes body posture, hand movement, and the use of tools such as the nobe-bera.

While the basic process remains the same, the level of precision required increases significantly.

The goal is to produce cups with consistent diameter, height, and thickness.

7

Advanced: Plates

After developing vertical control through cups, participants move on to plates, which require horizontal expansion.

Although plates may appear simple, maintaining a flat surface while expanding the clay evenly demands a high level of precision.

As the clay spreads outward, the load shifts toward the edges, making balance more difficult to control.
This also requires a firmer clay body, increasing the difficulty already at the wedging stage.
As the diameter increases, even small deviations become more visible.

Therefore, precise wedging and centering are essential to achieve a true circular form.

Additionally, shaping requires careful consideration of how the rim and well will behave during drying and firing.

In this section, participants learn to control rotation and centrifugal force in order to reproduce intended forms with accuracy.

PAINTING

You’ll practice underglaze porcelain painting, using traditional brushes such as the dami for filling and fine brushes for line work.

We begin with classic motifs inspired by Hasami’s long painting tradition, then guide you toward developing your own designs and compositions.

EXCURSION

You’ll join guided tours that take you behind the scenes of Hasami’s ceramic culture — visiting local manufacturers, studios, and the Kyushu Ceramic Museum.

We also share recommendations for places to explore on your own during the weekends.