terrim8 Posted April 26, 2016 Report Share Posted April 26, 2016 I love this technique. The pictures look like it was the same technique but each done differently by different artists. How do you do this? is it layered slips? Are the cracks made with sodium silicate? Is there a name for this? (so I can look up how to do it!) Link to comment Share on other sites More sharing options...
bciskepottery Posted April 26, 2016 Report Share Posted April 26, 2016 The picture on the right is a jar with cover by Akira Satake http://akirasatake.com/ . In a nutshell, the technique is done by using a brush to apply a kohiki slip to a slab and then stretching the slabs to reveal the breaks in the brushwork; from there, you form your vessel. The actual process is a bit more involved. Not sure about the vessel on the left; the inside glaze looks to be an iron red -- maybe ohata kaki. Link to comment Share on other sites More sharing options...
terrim8 Posted April 26, 2016 Author Report Share Posted April 26, 2016 So it is slab built ware, white porcelain slip over a dark iron clay body, stretched- some of it has a tree-ring look. I think I'd like to try this over a dark stain coloured clay body! Link to comment Share on other sites More sharing options...
GiselleNo5 Posted April 26, 2016 Report Share Posted April 26, 2016 Link to comment Share on other sites More sharing options...
Callie Beller Diesel Posted April 26, 2016 Report Share Posted April 26, 2016 The one on the left looks like a pinch pot that has a number of the maker's marks and some stamps on it. There's been some iron or other oxides worked into them. Link to comment Share on other sites More sharing options...
bciskepottery Posted April 26, 2016 Report Share Posted April 26, 2016 So it is slab built ware, white porcelain slip over a dark iron clay body, stretched- some of it has a tree-ring look. I think I'd like to try this over a dark stain coloured clay body! You don't need to use a dark stained clay body; after bisque firing, Akira applies a red iron oxide wash that is wiped off the slip surface but remains in the exposed clay body -- creating the darker contrast. A dark clay body does work -- I have used Standard 266 and Highwater Red Rock at Cone 6 and Laguna Dark Brown at Cone 10 for this technique. I still apply the RIO wash as it does give the slip a bit of color. The slab work is time sensitive -- after applying the slip, you need to let the slip and slab get to medium leather hard before stretching (depending on humidity/temperature, I sometimes leave the slabs overnight, other times I let them sit a couple hours). If you try to stretch while the slip is still moist/pliable, you just get a stretched slip with no separation at the brush marks. Also, as you are compressing the slab with each stretch by tossing it on table, you need to start with a slightly thicker slab that becomes thinner with each throw. After you stretch the slabs, they will be soft and pliable; you need to let them rest and become a bit firm before forming into vessels. Akira generally fires these in a diesel fuel kiln; he also does some in his wood train kiln. Depending on atmosphere, he varies the ingredients of the kohiki slip. Link to comment Share on other sites More sharing options...
terrim8 Posted April 27, 2016 Author Report Share Posted April 27, 2016 I love learning a new technique- can't wait to try this! Link to comment Share on other sites More sharing options...
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