Jump to content

Search the Community

Showing results for tags 'raku'.



More search options

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Ceramic Arts Daily Forums
    • Forum FAQ & Help Topics
    • Studio Operations and Making Work
    • Clay and Glaze Chemistry
    • Equipment Use and Repair
    • Business, Marketing, and Accounting
    • Educational Approaches and Resources
    • Aesthetic Approaches and Philosophy
    • Int'l Ceramic Artists Network (ICAN) Operations and Benefits
    • Ceramic Events of Interest

Found 65 results

  1. Week 33 Although raku ware was guided to fame in ________ by Sen-no Rikyu - because it was favored by him for use in the tea ceremony – the raku ware itself was originated by Chojiro, the son of a Korean tile maker. Toono Gujo-Hachiman Kyoto Hirosaki For centuries the tea ceremony, called _______________ (hot water for tea), has been responsible for creating an appreciation and understanding of raku pottery. Usa-Cha Cha-No-Yu Koicha Kaiseki Clay for raku must mature chemically at or above ______________.; contain enough course or refractory material – such as grog, sand, volcanic ash, pumice, talc, or alumina – to withstand the thermal shock; respond well to the technique of forming; and successfully survive the firing. 19150F. 21000F. 12000 F. 16000F. History and legend indicate that ______________ glazed pottery may have contributed to the decline of Roman aristocracy, and the eventual fall of the Roman empire.. . . . .also thought to be a source of disease or disability among the segment of the Mexican poor who use such potter. stoneware frit lead zinc This weeks questions come from Raku Pottery, by Robert Pipenburg, c.1972, Collier Books, a division of Macmillan Publishing Co. Note from Pres:This is one of my older books, as I purchased it when I was taking Ceramics in undergrad at Penn State. We were studying raku at the time. No points for getting J. Baymore to help you out with the answers.
  2. raku2horsetiles.jpg

    From the album Raku

    On Tuesday some friends helped me install the new lid with counter weight in my kiln shed. On Monday same friends dugs a hole for gravel for my raku kiln. I filled it with gravel and laid the half cinder blocks. After I put the cinderblocks down, they moved the frame in place. Today I raised the floor to a double cinderblock height . This weekend I will work of the stainless steel chamber lined with fiber. Beautiful weather after our early snow last week.
  3. Raku Questions

    I am doing my first raku fire this Saturday and am feeling well prepared. I'm so excited! I don't have a pyrometer.. . Do I just watch the pots (with protective eyewear) til glowing orange? How can I tell when they're ready for the reduction chamber? Also, any suggestions for firing tiny finicky pieces? I realized after I made them that it won't be easy to grab them with tongs and move them over. I thought maybe just smoke fire them in a bowl but that means no glaze. If I use glaze without silica will they stick together if touching? Any tips, tricks or advice is welcome!
  4. Sealer For Copper Raku?

    what kind of a sealer can be used to slow oxidation of copper raku? Beads I use for drop earrings have turned green.
  5. Raku To 05

    Hi, and best holiday wishes and a Merry Christmas to all~ I have a 55Gallon barrel drum Raku kiln, but even with two 300000btu brush torches I cant get past 1600F, and my Amaco Glaze matures at cone five, 1895-1900. Is there a burner that can get me to cone 05, or do I search for lower fie glazes? I've really been trying what I can dream up, but just cant hit that temp. Any Insights would be very helpful. Thanks! I have a 4" port, and a 6" exhaust. I have one layer of kiln blanket, and the 3" barrel bung open for exhaust.
  6. I've purchased the Alternative Kilns and Firing Techniques book and I want to refire some ware originally done in a workshop, using the alcohol reduction method. The original firing was just copper fuming. In the instructions the author says to add pine needles prior to covering the ware. Why pine needles? I can't get dry needles because it's been raining so does anyone have a suggestion for an alternative? Thanks. Have a good day. Andrea
  7. Traditional

    From the album Raku Firing

  8. Obvara

    From the album Raku Firing

  9. Horse Hair

    From the album Raku Firing

  10. Naked Raku

    From the album Raku Firing

  11. Hi again, Yes as the title says yet another question being posed to all of you. I've some bisqued pots and I am wondering if I can apply terra sig to them for horse hair firing. If so, do I need to re-bisque? Many, many thanks. Andrea
  12. Morning all, Can you help please. I'm doing a raku workshop this weekend and I need to produce some pots using terra sig. I use a commercial raku clay and I need to know if I can use it slaked down to produce the terra sig? Marcia's video indicates ball clay, but I'm confused as to whether I should use stoneware ball clay? Thanks for your help Andrea
  13. Hi everyone, Hoping you can answer a question regarding the making of terra sig. I've watched Marcia's video. I'm using a premix raku clay and don't have access to the ball clay component. Can I use this clay and slake down to make the terra sig? Thanks
  14. i all, I've recently set up a raku kiln and have been experimenting with different clay bodies. Someone requested on this forum that I try Laguna's B-mix with grog. I was looking for a nice creamy white clay to glaze with a clear.. I like the clay, but have had a few - not all - pieces came out with a few hairline cracks that were happening during reduction. I've attached a few photos. This past weekend, I fired around 10 different pieces with varying thicknesses, and had only about 3 cracks, so I'm not thinking it's the clay. Could I be doing something wrong in the reduction? The pieces were also bisque fired at cone 04. For the frit - I used 90% Ferro frit + 10% kaolin (another suggestion from the forum), but had a really difficult time brushing it on. I watered it down thinking it was just too thick, but it was still brushing on really thick, and impossible to brush on a second coat. I've used a frit before, and know they are not the easiest to brush on. The previous teacher I had used a Frit + kaolin at the same percentages, but I don't remember it being so difficult to apply. I tried smoothing out the bumps, but when my pieces came out you could really see the uneven brush strokes, making the surface bumpy. As you can see I got some nice crackles, but some pieces gave me hardly any crackles and a lot of black dots. Any advice on frit application? Marcia are you around?? I'm still new to doing this on my own, and am trying to self teach myself as I go along. This forum is a great help! I appreciate any help!! Thanks!!!!!
  15. Alternative Firing Online Workshop

    In the Alternative Firing online workshop Marcia Selsor address Raku ( her famous horse tiles!), obvara, as well as and 2 ways to do saggar firing. She teaches these techniques from start to finish with lots of explanation. As an extra bonus she teaches the making of a small raku kiln. Early bird registration is open at http://teachinart.com/alternative-firing.html
  16. Morning all, I've coloured some porcelain with a green mason stain and am wondering about the effect during a raku firing. I'm going to do a raku workshop soon and need to make some pieces to fire. I have a buff stoneware and porcelain. The firings covered in the workshop are: naked, horsehair, obvara, traditional and copper fuming. Suggestions please about what clay body would work with each of these methods. Thanks Andrea
  17. Hi, I have been working on some old men busts, and I have a question about paper trapped in the head. I built a wooden armature for the work and made a paper ball to use as a mould for the inside of the head. After removing the armature and as much of the paper as I can there is still some paper trapped inside. I have let the head dry very completely, are there any concerns with firing in an electric kiln with some paper left in the head? The bust is not terribly large (9" or so), and I used 1 sheet of paper from a local flyer. I would estimate that I got about 50% of it out. I realize that I could have cut the top of the head open to fish out the paper and reattach, but I plan to Raku this and didn’t want the seam where I reattached to be a weak spot. Thoughts? Thanks ~Mal
  18. http://ledondufel.com/fr/stage/la-terre-sigillee-de-la-fabrication-a-la-cuisson/
  19. butterfly

    From the album #1 karenkstudio

    raku assemblage
  20. mirror frame

    From the album #1 karenkstudio

  21. coffee cup tile

    From the album #1 karenkstudio

    Raku glazes with peel-away slip background.
  22. Can I Reconstitute Raku Glaze

    I am a seasonal potter. What I mean by that is my studio is taken over by my wife so she can park the car in the garage in the winter. This means that I have large periods of time when my glazes sit. Last year I did some raku work and thought I packed them away at the end of the season safely. This year however they are bone dry. Can I reconstitute raku glazes? If so, will the colours be affected? I understand this might be a difficult question to answer as different chemicals may react differently to time and or lack of water, but in the spirit of generality has anyone had success? Thanks ~Mal
×