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  1. Fire Under The Oaks 3 Days 3 Extraordinary Instructors One Spectacular Event February 10,11 & 12, 2023 Come join us for an exciting Alternative Firing Workshop at the Biloxi Center for Ceramics on the beautiful campus of the Ohr O’Keefe Museum of Art in historical Biloxi, MS. Three legends of Southern Pottery: Randy Brodnax of Marble Falls, TX Don Ellis of Farmington, NM Ron Wilson of San Antonio,TX Are joining us to provide 3 full days of instruction on a plethora of both traditional and modern alternative firing techniques including: Raku, naked raku, obvara, horse hair & feather, sagger firing, fuming with stannous & metal chlorides and interference mica techniques. Glow-worm wood fired cone 10 kiln firing. You will also learn how to construct your own affordable downdraft barrel kiln. Each hands on workshop attendee will spend a full day learning from each of our master potters over the three days and participate in firing your own bisqued pieces. Lunch will be provided, as well as snacks & beverages during the day. Registration
  2. I apologize. My first post, I realize looks like I am sharing info. I wish I was. That would mean I knew about it. I work with a stoneware clay body for Raku. I use a cone 10 body and sometimes a cone 5 body. I add kyanite and grog. Generally, I am hand building as opposed to slab building. I like what I read about paper clay. I see people dipping, pouring. slab building but not sure if it fits my approach. I also like to use texture, and sometimes fine detail. I like that paper adds strength. What about plasticity? I like that it can be used to patch cracks and possibly help mend breaks even on bisque ware. Really? If I had a paper clay made from the same clay I Raku with would it be possible to use that on green ware cracks prior to firing? After first firing? That alone would make it very interesting. If both clay bodies share a parent body could I mix the two? Knead them together? Is there a paper clay designed for raku? I was reading some of the articles with Jerry Bennett, he mentioned a fiber called kenaf. In an article, http://jerrybennett.net/paper-clay-information that is sometimes used with Raku. It sounds like some of the commercial clays include kenaf for sculpting and Raku. Took me a bit to find the article again. Good article. I do not use porcelain but he does. Good info. Very intrigued just not sure how to approach it. I can see how it would be beneficial for wall pieces. Less weight. I would appreciate feedback and insight on what might be possible. Thanks Terri
  3. I work with a stoneware body for Raku. I use a cone 10 body and sometimes a cone 5 body. I add kyanite and grog. Generally, I am hand building as opposed to slab building. I like what I read about paper clay. I see people dipping, pouring. slab building but not sure if it fits my approach. I also like to use texture, and sometimes fine detail. I like that paper adds strength. What about plasticity? I like that it can be used to patch cracks and possibly help mend breaks even on bisque ware. Really? If I had a paper clay made from the same clay I raku with would it be possible to use that on green ware cracks prior to firing? After first firing? That alone would make it very interesting. If both clay bodies share a parent body could I mix the two? Knead them together? Is there a paper clay designed for raku? I was reading some of the articles with Jerry Bennett, he mentioned a fiber that is sometimes used with Raku, can not quiet remember what he called it. I looked it up online might be in the hemp family. Not sure. Very intrigued just not sure how to approach it. I can see how it would be beneficial for wall pieces. Less weight. I would appreciate feedback and insight on what might be possible. Thanks Terri
  4. KB3d

    5inch Raku

    From the album: KAREN BORG

    © Karen R Borg

  5. Hello! I am new to raku and making a homemade raku kiln out of a metal trashcan. I'm just a little confused on bisque firing. I'm thinking I'll bisque fire to come 04 but I'm just not sure how slow I need to increase the temperature. Is it also possible to maybe split up the bisque firing into 2 different firings. Since I have a homemade kiln and it will be outside I don't feel comfortable to leave it alone for like 7 hours and I have to monitor the temp anyways. I'll be using a torch attached to a propane tank and I'm also wondering if I can get a bisuqe and glaze fire out of 1 tank? Thank you!
  6. Weekend - May 21-23, 2021 Alternative Firing Workshop Jessica Wilson Explore the hands-on process of raku, pit and horse hair firing in this intense course. Be prepared to work hard in a hot environment and to welcome the unexpected and unpredictable! Bring lots of bisque-fired pots and leave with unique, one-of-a-kind, finished pots. Intermediate $360 Registration and Information
  7. Hello! I’ve recently made my first raku firings in my home made raku kiln (a readapted tiny electric kiln) but I’ve had pretty bad results… I tried 4-5 firings using different commercial glazes thought for “normal” electric kiln low firing: colored glazes thought for 980-1050°C\1800-1920°F (with some addition of 850-1000°C\1560-1830°F Alkaline frit for lower a little bit the melting pont and make them more translucent), metallic glazes and “pearl effect” colored glazes (i.e. with addition of bismuth nitrate, I guess) that have by themselves the right temperature range (900-950°C\1650-1740°F, I believe…). The metallic glazes went out fairly well, but for the others it have been a disaster... the “pearl effect” glazes came out complitely black, very black, and very matt. The colored glazes came out full of bubbles and with a very strange metallic colored surface; this metallic layer could be removed by scratching with a steel wool. Unfortunately I’ve not taken pictures… This was the very first time for me, and I have not previous experience, no courses, never seen other peole do this kind of firing, so now I can only guess what went wrong. The first observation is that the firing time have been quite shorter that expected: 5 min at the maximum to see a “wet” glazed surface. My kiln is very very small (a cube with 13” sides), but this looks to me a very short time… So the causes for the disaster, I guess, are primarily due to the fact that I made the firings in reduction condition, too much gas, too few oxigen. This even if the fire didn’t look “smoky”. This could explain the black and metallic surfaces (even if I can’t figure out the real specific cause of the metallic surface). For the bubbles I don’t know if I waited too little time by the moment in which I’ve seen the “wet” suface, or if the temperature rose too fast, or it was too high. Could somone give me some idea about what have been my errors?
  8. I'm a beginner potter and I've tried wood firing pottery outdoors because an electric kiln is not very accessible for me. My small kiln is about a bit bigger than 2'x2'x2' and made from regular red bricks with a regular grill grate halfway to place pottery. As you can probably tell, it has terrible insulation and I can never get it to a high enough temp to fire glazed pottery. I can bisque fire and it works but It never gets hot enough to melt glaze, even the low fire glazes I use. I really don't want to ditch this project because I've already put so much time and material into it but I don't have the time/material to build a much bigger kiln or spend days firing. I also don't have a huge budget. What fairly inexpensive materials I can use to insulate my small kiln so that it can comfortably reach cone 06 and complete a glaze firing? I've looked into getting ceramic fiber board to line the inside of the kiln with, fire bricks are very expensive and probably out of my price range. Any advise from someone with more experience in this field would be very appreciated, Thank you!
  9. From the album: July 2019

    Copper & cobalt oxide glazes applied to bisque fired (950oC) pieces. Fired in a dustbin raku kiln at recent kiln building workshop. (1000oC) then plunged into sawdust to reduce.
  10. From the album: JohnnyK's Glaze FX

    First commissioned Horsehair Raku piece

    © John Klunder

  11. 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.
  12. From the album: #1 karenkstudio

    Raku glazes with peel-away slip background.
  13. From the album: #1 karenkstudio

    raku assemblage
  14. From the album: experimenting

    The beads and pendants are the results of additional experiments with Raku horsehair/feather firing.
  15. From the album: rakukuku

    here is a product of yesterday's naked raku one step. pink terra sig. i added more alumina hydrate to the slip and we got the right amount of adherence. rakuku
  16. From the album: rakukuku

    stannous chloride fumed orbs
  17. From the album: Cham Solo's Pieces

    This is the bottom view, again with my signature.
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