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Found 68 results

  1. Raku with underglaze

    Has anybody used underglazes under a clear crackle Raku?
  2. Does anyone know where to purchase the 1 sq in wire mesh that is the frame for this kiln? I don't think i've seen it at any of the hardware stores around where I live.They seem to just have wider grid mesh. Is there some sort of specialty store that sells sturdy wire mesh? (Not chicken wire). I am going to build this kiln as soon as I get this mesh! I have the burner and some of the bricks, I know where to get the ceramic fibre & the ni-chrome wire- I just have to find a source for the mesh.
  3. Hi folks! I've just been given to me what I hoped to be my first own electric kiln. It's a very very small stackable top loading kiln. The chamber is more or less a cube with 12"\13" (32cm) side. Microscopic but mine! Unfortunately it doesn't work... () because it's not able to go above 1300F (700°C)... It's too a small and old kiln to spend money to replace the heating elements, even because the control unit is very "primitive" so I would have very small control on temperature rising velocity ecc.. Just to not toss everything, I thought to convert it in a updraft raku kiln. It's a lot of time I've planned to build one raku kiln and I think that this can be a good occasion since I can save the cost of the isolating blanket. I'm little scared that the kiln will be just too small to have an evengas heating but at that point the cost of a barrel and a ceramic fiber blaket will be not so high... I read a ton of threads here and elseware but just I couldn't find out an indication on what the diameter of inlet and oulet should be... I will use a weed burner with a torch diameter of 6cm so I thought to make both the inlet (in the bottom) and outlet (in the lid) of 8cm... I need to buy and use a hole saw (and I want to retain the "scrap") so I want to be pretty sure that I'm not going to enlarge it because are too small... I'm going to put a cordierite"flame spreader" 5cm high above the inlet hole. Somebody could give me some tip or tell me if this stuff will never work properly??
  4. 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. Answers: 3. Kyoto-Although raku ware was guided to fame in Kyoto 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. During the 1520s Chojiro settled in Kyoto, and took the title Sokei after marrying into a Japanese family, and became naturalized. Rikyu became so fond of Chojiro that he honored him by giving him his father's name of Tanaka. 2. Cha-No-Yu-The Tea Ceremony, like raku, is almost synonymous with Japan. For centuries the tea ceremony, called Cha-No—Yu (hot water for tea), has been responsible for creating an appreciation and understanding of raku pottery. The tea ceremony used raku tea bowls because they symbolized the beauty, the simple and unassuming qualities, that were in harmony with everyday life. 4. 16000 F.-Clay for use in raku can be found almost anywhere. The only require- ments are that the clay must mature chemically at or above 1600° F.; contain enough coarse 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. 3 .lead-History and legend indicate that lead-glazed pottery may have contributed to the decline of Roman aristocracy, and the eventual fall of the Roman Empire. Wine stored in lead-glazed vessels or drunk from lead- glazed cups could have carried lead particles. The ingesting of these lead particles may have caused sterility as a result of chronic lead poisoning. The lead-glazed Mexican pottery of today is thought to be a source of disease or disability among the segment of the Mexican poor who use it. Reports from many countries throughout the world implicate lead as a poisoning agent that can cause serious illness, especially among children.
  5. 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.
  6. 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!
  7. 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.
  8. 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.
  9. 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
  10. Traditional

    From the album Raku Firing

  11. Obvara

    From the album Raku Firing

  12. Horse Hair

    From the album Raku Firing

  13. Naked Raku

    From the album Raku Firing

  14. 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
  15. 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
  16. 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
  17. 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!!!!!
  18. 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
  19. 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
  20. 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
  21. http://ledondufel.com/fr/stage/la-terre-sigillee-de-la-fabrication-a-la-cuisson/
  22. butterfly

    From the album #1 karenkstudio

    raku assemblage
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