No Raku Today

No Raku today, or tomorrow. Got hammered with snow this weekened. In fact, I think most of Wisconsin did. I wish I could have taken a picture of my kiln area but spent most the day shoveling and then didn't feel like making the drive. Probably wouldn't have been able to see it anyway. Maybe tomorrow.

Didn't throw anything, didn't fire anything. Dang! I've got a lot of catching up to do this week. I have a lot of high-fire stoneware pottery commisioned.

Would like to thank Richard in Terrell, Texas. He found my kiln building posts in my archives and created a real nice Adobe PDF document with all the text and photos. Hey Richard, sure wish I was in Texas this weekend. Thanks again. If anybody would like a copy, please let me know. I would be glad to pass it along. Well, I suppose I'd better sign off and get to some other things I'm behind on. More posts to follow. Cheers!

Red Raku Glaze

Finally, after a year of trying new glazes, firing them, experimenting with them, and modifiying them, I have found my Raku red. Call it lucky? A one-time red? No! Call it Cabernet Red, and its been tested and tested. The tea bowl ain't too bad either.

This was my first successful Cabernet Red tea bowl. There is very little smoke-filled crackling on the exterior of this tea bowl, but the inside has a nice faint crackle pattern throughout. I think this was the result of being over anxious and pulling it out of the reduction chamber too early. In any case, this bowl has become my favorite piece of pottery that I've made.

Last night I fired some more tea bowls just to make sure this wasn't a fluke . It was no fluke. This bowl has a beautiful smoke-filled crackle pattern inside and out.

To get a better smoke-filled crackle pattern I placed the tea bowls into the reduction chamber filled up with torn up newspaper, placed the cover on it and let it smoke for 5 minutes. Then I uncovered the container, and using tongs, pulled the pieces from the chamber and waved them around in the air, one at a time of course. You should have heard the crackle (it was pretty cold, about five degrees). After the "pinging" and crackling, I placed the bowl back into the reduction chamber, replaced the cover, and let it smoke another 5 minutes.

Now that I have my beautiful Cabernet Red I am going to experiment with some other decorating techniques using oxides, slips and wax resist.

Raku In 'Da Winter

This seems like Ground Hog's Day. The picture is one year old but, once again, last Sunday I was Raku-ing in the snow and cold. I was wearing the exact same snow gear, standing in the same amount of snow under a bright blue sky and wearing the same sun glasses.
The only difference being it was only zero degrees last Sunday, rather than sub zero temps, and my raku kiln is a bit more broken-in (rustier).
I've been testing and experimenting with new glazes since last year. I have compiled about a dozen that I really like but this Sunday I found my favorite. It is a beautiful burgundy/maroon. I'll have a photo to post in the next day or two. I want to use a different camera. Currently I am using an antique 1 Megapixel HP ('gonna have to invest in a better camera). Anyway, I should have the results of my firing posted soon. So, Please stay tuned.

Horsehair Pottery Update

More on the orgins/history of Horsehair Pottery--

A recent comment was just posted on my Flickr Photo Site. ClayHorse, another Flicker potter, has just informed me that she recently learned that Horsehair Pottery was invented by Native Americans of the Southwest as a means to honor their fallen war horses.
Thanks ClayHorse.

Rajah's Horsehair

Another successful raku firing in the Valley. Details to Follow. Stay tuned.

So whats up with horsehair? I'm not sure if this is a true story, myth or what, about the origins of Horsehair Pottery. But, this is what I've been told.

Once upon a time in New Mexico, or there abouts, a beautiful Native American potter was uncovering her earth kiln to see all the wonderful new pots she had created. The pots were still hot, I mean they were HOT, and while she was bending over removing one of the pots her pony tail accidently brushed over the pot. It sizzled and shriveled and burned just enough to leave behind wonderful carbon traces on the pot. And thus, Horsehair pottery was born.

Myth? Fact? I don't know, but it makes one dang good story.

Oh, one last thing--No horses were harmed or mistreated in anyway, shape, or form, in the process of creating this beautiful teabowl.

Horsehair Teabowl

This Teabowl was made from a heavily grogged white stoneware clay body and bisque fired to approximately 1600 degrees.
Once bisqued the bowl was placed on a banding wheel and a coating of liquid wax was applied to the exterior. This was done so a neat glaze line at the rim could be easily achieved. The interior and rim were then glazed with Ferguson's Turquoise Raku Glaze.
The teabowl was then fired in a fiber-lined raku kiln until glowing hot and the glaze was liquid-glassy, approximately 1900 degrees.
At this time the teabowl was removed from the kiln and individual strands of horsehair were applied to the exterior of the surface. The hair imediately begins to burn and shrivels up resulting in a small deposit of smoke and carbon, leaving a permanent trace of the horsehair.
The ashes are washed off once the piece is cool and when the bowl is completely dry the exterior is polished with paste wax and buffed to a soft satin luster finish.

Hand Carved Chawan

Chawan? Whats a Chawan? Well, by simple definition, for many western potters, it is Japanese for teabowl. But, I think Chawan has a much deeper meaning.

I know very little of the Japanese Tea Ceremony but Chawan were treasured by the ancient Tea Masters. Even today the Chawan is a special and treasured breed of ware. Pictured in this post is what I call my first hand carved Chawan. It was Raku fired in my crude, brick , raku wood kiln.

Aoyama Wahei wrote in Japanese Ceramics Now that "a Chawan has certain rules that must be kept in order for the bowl to be classified as a chawan. For example, many advocates of tea, along with potters themselves, claim that the chawan must have a balance between several elements, such as height, width, depth, lip, body, and foot-ring. A lack of these elements will make the bowl either a plate or a mutli-purpose bowl, but not a tool that is appropriate for drinking frothy green tea in the tea ceremony."

Furthermore a good chawan should reveal a strength and spontaneity of the potter who created the bowl and should be interesting when viewed from all angles. Even the foot-ring will reveal the skill and state of mind of the potter who carved the bowl.

I don't have enough knowledge yet, or the space, to continue my rant about what a chawan is, or go into the significance of the chawan and the Japanese Tea Ceremony, but I can safely say that a chawan isn't your grandma's tea cup.

The Footring

On Chawan the foot of the bowl (Kodai, pronounced "koudai") receives a lot of attention and importance to not only the potter, but the collector or tea drinker as well.

First of all the footring is usually the only place that the claybody of the bowl can be viewed. A lot can be revealed by studying the the clay, in some cases where the clay actually came from. It also is a nice contrast to the smooth glazed surface.

A good footring should balance the bowl not only when placed down, but in the hands as well--it shouldn't be too small or too large for the chawan. And, the footring reveals much, if just studied. Turn the chawan over. Look at the foot. It should be spontaneous but also have the skill and confidence of the potter who created the bowl.

John's First Bowl

John's first bowl, Raku and Wood Fired. Yahoo!

I gave John an 8-pound brick of clay, a carving tool, a couple of wooden trim tools, a wooden rib, and told him to "go at it." I suppose I should have given him some guidance or at least explained to him how to use the tools, but everything worked out.

I also gave him a hard time about not helping with the wood splitting but I take that back, as John did more than his fair share of stoking the kiln in the hot afternoon sun. Next time we fire at night.

Congratulations John!

Wood Fired Pottery

Ahh...
The great Joy of wood fired pottery. For the people who collect it or the people who admire it, they have it easy. Creating it is the hard part, I mean hard on the body--Uffda! I must say that I find no joy in collecting, sawing, splitting and stacking wood for 3 hours in near 100 degree heat. But, this is part of the process which ultimately leads to an insane adventure with fire and earth.

Tomorow I will be firing a few of my tea bowls which I hand carved from 8 pound blocks of clay, and one bowl that my friend John carved.

John has never made anything out of clay but has always been interested in my pottery and the processes involved with firing the pots. He has helped me modify my gas raku kiln and has come up with some great ideas for firing.

Anyway, I just handed him a block of clay and a few carving tools and said "there is a bowl inside that clay so use the tools and release it." I'm not sure how long it took him to carve the bowl but he did it and seemed to be quite pleased with himself. I was quite suprised, as I gave him no suggestions, help, or advise of any kind.

So we're both fired up about firing our pots, although I have to say that he gave me no help in sawing and splitting all the wood.

Raku Wood Firing

Raku Wood Firing--The First Step


Yesterday I took the first steps in preparing for another Raku Wood Firing--gathering the wood. Fortunately I have a few sources for wooden pallets. They're free and all I have to do is go get 'em, saw the planks off them, and split them into small pieces. Sounds like a lot of work--scratch that! It is a lot of work and with the gasoline prices at 3 bucks a gallon I wouldn't be doing it except I can pick the pallets up on my way home from work.

A bright spot in the day--Yesterday I managed to hook-up with another potter who is creating a links list of fellow blogging potters. Her name is Mary Anne Davis and her blog can be found on my list of links. She also has a wonderful web site full of beautiful modern ceramic table art. Go see her pottery, fantastic stuff. Better get going. I've got wood to split.

Wood Fired Tea Bowl

Success! WhaaHoo! A Raku, Wood Fired, Tea Bowl. I love the red. The outside of the bowl has some real nice fire flashings of black.

Dimensions approx. 4 and 3/4 inches high and 5 and 3/4 inches in diameter.

Stay tuned for more tea bowls. I'm out of bisque ware to fire and I have to collect and split more wood.

Raku Kiln

My first Wood-Fired Brick Raku Kiln. I got interested (more liked "Hooked") on Wood-Firing thanks to Tony Ferguson and his invitation to help fire his Anagama Kiln last
October (check out my blog archives for details). This kiln is basically Nesrin During's design that Steven Branfman describes in his book "Raku, A Practical Approach, 2nd Ed."

The main differences are that I used hard fire brick instead of insulated soft brick. And, instead of kiln shelves for the lid of the kiln I used a scrap piece of 2-inch fiber board.

Wood Fired Raku Kiln

I scrounged all my materials for this kiln.

I didn't have access or the money to buy a bunch of insulated soft brick so I used hard fire brick for my kiln, about 50 full and 10 split brick. The bricks are very loosely stacked and the fire box and firing chamber are one in the same.

I used an old refrigerator grate in the fire box to hold the wood, and the kiln lid is a scrap piece of hard fiber board that was given to me by a local furnace repair business.

The wood is from shipping pallettes that I get for free. I just have to pick them up and saw them up with a skill saw. I then split the wood into small pieces.

It takes approximately 3 pallettes and a couple hours to fire the kiln. I haven't yet fired another batch after the first initial firing but imagine subsequent firings would take about a half hour.

New Raku Kiln Lid

Since I had some extra Kaowool, I decided to build a new lid for my raku kiln. Believe it or not, I couldn't find one store that would sell me just the garbage can lid. So, I had to buy the whole works again. I had heard from many sources that I should put the hole in the center, so I did. I cut the hole in the lid with a pair of tin snips, painted a coat of sodium silicate on the inside of the lid, set the Kawool in place and further secured it with 1-1/2 inch squares of rigid fiber board buttons threaded with nichrome wire.

New Raku Kiln Lid

I'm not sure if this kiln fires any more efficiently with the hole in the center. I didn't notice any difference in firing times for finished product. But one thing for sure---it is a lot easier looking into the kiln with the hole off-center. My favorite addition to the new lid is the two heavy-duty handles, which makes removal much easier.

Horse Hair Raku

My first Horse Hair Raku Tea Bowl.

Raku Teabowl

This teabowl has beautiful copper red flashings all around the outside of the bowl. The inside was glazed with a Clear Crackle Glaze. The outside was first glazed with the Clear Crackle and then glazed again with a Turquoise Crackle.

I think the clear glaze I use is Called Soldner's Clear Crackle. 80% Gerstley Borate, 20% Neph. Sy.

For the Turquoise Crackle glaze I just added 10% Zircopax and 2% Copper Carbonate to the Soldner's Clear.

Raku Tea Bowl

Ferguson's Turquoise Crackle Glaze. Fired in heavy reduction during the last 10 minutes of firing. The turquoise has a nice soft crackle appearance and the copper red metallics are hard, brilliant, and shiny. As with most my tea bowls, the dimensions are approximately
3-3/4 inches tall by 4-3/4 inches wide.

Raku Tea Bowl

Turquoise Raku.
After about a dozen firings I am finally learning how to fire my new kiln and am very happy with the results I am getting. This turquoise glaze has become one of my favorites because it can produce a lot of different colors, depending on how the kiln is fired. Under normal firing conditions this glaze will always come out a blue turquoise. When the kiln is heavily reduced near the end of the firing the glaze will yield a crackled turquoise with multicolored metalic flashes. When the kiln is fired in heavy reduction throughout the firing process the glaze will be a shiny metalic copper, so shiny you can see your reflection in the glaze. I have also had this same glaze turn out the most beautiful oxblood red I have ever seen. Although, I have only been able to get that red once. But, I'm still trying.