Masterclass: Step-by-Step Studio Process of Crafting the Tall Yukon Series Mug

April 14, 2026

About the Artist Wanying Liang: https://shop.wanyingliang.com/pages/about-the-artist

While I often share the quiet, meditative moments of my studio practice, I recently filmed an in-depth, member-exclusive video detailing the exact technical steps required to create the pieces in my winter-inspired collection.

To make this knowledge accessible to everyone, this journal entry serves as a comprehensive masterclass on how I build the taller, slightly waisted mugs from the Yukon Series—from calculating shrinkage to layering the final winter glazes.

Phase 1: Preparation and Wedging

Before touching the wheel, you must design with firing science in mind. I sketch my dimensions based on what feels right for daily use, but I always factor in a 15% to 18% shrinkage rate that occurs as the clay dries and fires. (If you are uncertain of your clay's shrinkage, check the manufacturer's specifications or fire a measured test tile).

Wedging: I wedge the clay in one continuous direction to push out air bubbles. This creates a spiral structure within the clay body that makes it significantly easier to throw.
Batching: I prepare the clay into cones and work in batches of ten to match the ten throwing bats at my station. This sets a comfortable, efficient production pace.

Phase 2: Throwing and Shaping the Waist

Throwing requires anchoring your body to control the material. I slap the clay onto the bat, lubricate it with water, and begin "coning"—pulling the clay up and pressing it back down using the strength of my arms to perfectly center it.

Opening the Well: Pushing straight down into the center, I pull outward to establish the base. The interior profile (flat or rounded) must be decided now, based on your final design.
Pulling the Walls: I use steady, even pressure from the inside and outside to draw the clay upward. Crucial technique: Always pull the clay straight up first, establishing your wall thickness and height before attempting to widen the rim. This prevents the wet walls from collapsing.
Shaping the Waist: The signature of this specific Yukon mug is its slight taper at the waist. Because the clay walls are thin and soft at this stage, it only requires the gentlest touch and slight pressure to coax the waist inward.

I finish by running a wire under the base and leaving the piece to dry slowly on the bat until it reaches the leather-hard stage.

Phase 3: Precision Trimming

When the clay comes off in clean ribbons rather than wet sludge or dry dust, it is ready to be trimmed. Being mindful of the floor thickness you established during the throwing phase dictates how aggressively you can trim the foot.

My trimming progression relies on specific tools for specific tasks:

Leveling: I always do an initial pass over the bottom with a small metal loop tool. A straight-edged tool will bounce and chatter over uneven bumps, but a loop tool cuts cleanly through them to establish a flat plane.
Profiling: I switch to my serrated tungsten carbide tool to rough out the general profile and angle of the foot ring.
Refining: I return to the small metal loop tool to clean up the finer details before signing my name.

Phase 4: Structural, Hand-Pulled Handles

I shape a piece of clay into a tapered cone (resembling a carrot) and pull downward with water to prep 8 to 12 thick strips at a time.

When pulling the final handle, I intentionally use the natural curve of my fingers to leave a raised ridge right down the center of the clay strap. This is not just an aesthetic choice; that central ridge gives the handle immense structural strength.

After bending them into curves on a plaster bat and letting them reach a soft-hard stage, they are attached.

Attachment: I visualize the placement, cut the excess clay, and heavily score both attachment points with a needle tool.
Compression: Using thick slip, I press the handle firmly into place, compressing the joint multiple times.
Refining: After letting it set, I wipe away the excess slip with a damp brush. This final compression is critical to prevent the handle from cracking away from the mug as it shrinks to bone dry.

Phase 5: Bisque Firing and Winter Glazing

The bone-dry mugs are bisque-fired to Cone 08 (though Cone 010 works perfectly fine as well).

Once out of the bisque kiln, the surface must be wiped down with a damp sponge to remove any dust that will cause glaze defects. To make the final cleanup effortless, I apply a liquid wax resist to the foot ring before dipping.

The secret to an even coat is thoroughly stirring and sieving the glaze. For the Yukon Series, I wanted to capture the stark, refreshing contrast of the Upstate New York winter landscape. I achieved this rich surface effect by using a dipping method, meticulously layering a blue and black glaze over a crisp white base.