Tea Bowl #20 & 21

The Technique: How I did this awesomeness!

Combining a slab-building (on the red terracotta) and stick-hit-forming (on the white gorged clay) method to make the actual bowl, I worked it wet and fast. While still wet, I combined the separate clay bodies, then I set it aside to dry slowly under paper and plastic, before sending it to be bisqued.

Note: Because of the possibility of cross contamination, I kept yogurt quarts full of different glazes, stains, and engobes, that I would use for these pieces only.

First, I poured in a clear glaze and over the edge. When dry, I used a brush to paint the rim with a thick coat of iron oxide stain. I rubbed on a black stain onto the white clay body and painted over it with a celadon glaze. I made sure the base was cleaned so it wouldn’t stick to the kiln-shelf. It was fired at Cone 6.

The Influence: Confessions of a Plagiarist, sort of

No one artist influenced me in these, rather an ancient style and a hard to describe ism pushed these explorations forward. No point in reinventing the wheel, here’s what Wikipedia has to say…

First, What is Raku?

Raku ware (楽焼 raku-yaki) is a type of Japanese pottery traditionally used in Japanese tea ceremonies, most often in the form of chawan tea bowls. It is traditionally characterized by being hand-shaped rather than thrown; fairly porous vessels, which result from low firing temperatures; lead glazes, and the removal of pieces from the kiln while still glowing hot. In the traditional Japanese process, the fired raku piece is removed from the hot kiln and is allowed to cool in the open air. The familiar technique of placing the ware in a container filled with combustible material is not a traditional Raku practice. Raku techniques have been modified by contemporary potters worldwide.”

Second: What is Wabi-Sabi?

In traditional Japanese aestheticsWabi-sabi () is a world view centered on the acceptance of transience and imperfection.The aesthetic is sometimes described as one of beauty that is “imperfect, impermanent, and incomplete”.[3] It is a concept derived from the Buddhist teaching of the three marks of existence (三法印 sanbōin), specifically impermanence (無常 mujō), suffering (ku) and emptiness or absence of self-nature ( kū).

Characteristics of the wabi-sabi aesthetic include asymmetry, roughness, simplicity, economy, austerity, modesty, intimacy, and appreciation of the ingenuous integrity of natural objects and processes.

Can I say I copied these styles? I can only ask you to decide for yourself and answer with another question: Can anyone copy a style that by its nature is utterly unique?

Come on in and sit awhile When you buy The Artist’s Stuff: Prints, Mugs, T-Shirts, Pillow, Shower Curtains, and other awesome stuff.

Books that Inspired and Influenced my Experimentation:

These are perhaps the most obvious influences, but the truth is that my influences run deep through thousands of books and works I’ve seen & read. If you have the time, you are free to visit my GoodReads library to see a fraction of the books I’ve read. These are the ones I remember, that is. Or you can visit the ever growing collection on my Pinterest account.

Electric Kiln Ceramics: A Guide to Clays and Glazes by Richard Zakin   

Mastering Raku: Making Ware * Glazes * Building Kilns * Firing by Steven Branfman

500 Raku: Bold Explorations of a Dynamic Ceramics Technique by Ray Hemachandra, Jim Romberg   

The Unknown Craftsman: A Japanese Insight Into Beauty by Soetsu Yanagi, Bernard Leach (Adapted by), Shoji Hamada (Foreword)   

Decorating Techniques (Ceramics Class) by Joaquin Chavarria   

Japanese Wood-Fired Ceramics by Marc Lancet   

Contemporary Clay: Japanese Ceramics for the New Century by Joe Earle    

Ceramic Design Course: Principles, Practice, and Techniques: A Complete Course for Ceramicists by Anthony Quinn   

Wabi Sabi: The Japanese Art of Impermanence by Andrew Juniper   

500 Cups: Ceramic Explorations of Utility and Grace by Suzanne J.E. Tourtillott   

Alternative Kilns & Firing Techniques: Raku * Saggar * Pit * Barrel by James C. Watkins, Paul Andrew Wandless, Lark Books   

Potter’s Guide to Ceramic Surfaces by Jo Connell   

The Ceramic Glaze Handbook: Materials, Techniques, Formulas by Mark Burleson 

Fired Up with Raku: Over 300 Raku Recipes by Irene Poulton   

Isamu Noguchi and Modern Japanese Ceramics: A Close Embrace of the Earth by Louise Allison Cort, Bert Winther-Tamaki   

Modern Japanese Ceramics: Pathways of Innovation & Tradition by Anneliese Crueger, Wulf Crueger, Saeko Ito     

The Soul Of A Bowl: Don Reitz, Frank Boyden, Jenny Lind, Tom Coleman, Elaine Coleman by Contemporary Crafts Museum & Gallery

Salt-Glaze Ceramics by Rosemary Cochrane   

Robin Hopper Ceramics: A Lifetime of Works, Ideas, and Teachings by Robin Hopper    

Slab Techniques (Ceramics Handbook) by Jim Robison, Ian Marsh     

Ceramics for Beginners: Surfaces, Glazes & Firing by Angelica Pozo     

The Penland Book of Ceramics: Master Classes in Ceramic Techniques by Lark Books   

Ceramics – Ways of Creation by Richard Zakin   

Surface Design for Ceramics by Maureen Mills   

The Materials: Quick! Order this stuff right now, AND You too can make masterpieces!

Pottery supplies:

Clays: I’ve used mostly Cone 6 clays from Pottery Supply House:

CONE 06 RED GROGGED CLAY: The Review: This is the least favorite to use. It fires off the red and needs specialized glazes.

CONE 6 PORCELAIN: The Review: This was a challenge to use. One needed to work it faster because if it dried too fast, it would crack. It’s elasticity while in the wet-leather hard stage was fun to play with and allowed to melting appearances. It took stains very well and loved my pure pigment glazes.

Glazes:

These were usually private mixes from the studios I worked in. I never asked for the recipes. When I graduated to the private studio, under the mentorship of porcelain master Marie Cote, I used her clear glaze as the base for all my experimentation and mixes. It was the most robust and versatile glaze available and allowed me to mix in pure pigments and metals without runoff or kiln incidents. Make sure to ask your local supplier for a stable clear glaze and play with it.

Stains, Engobes, & Underglazes:

Most of these come from Pottery Supply House, or Sial. This is where you need to play a little.

These are the ones I’ve played with the most to make my own:

6005 – Pigment – Crimson – 125gr:

6025 – Pigment – Coral Red -125gr:

6305 – Pigment – Teal Blue – 125gr:

6300 – Pigment – Mazerine Blue – 125gr:

6385 – Pigment – Pansy Purple – 125gr:

6464 – Pigment – Zirconium Yellow – 125gr:

K648 – Pigment – Dark Green:

H378 – Pigment – Amber

R140 – Pigment – Camel Brown:

431 – White – Opaque Stain:

454 – Rust – Opaque Stain: 

476 – Black – Opaque Stain:

475 – Charcoal – Opaque Stain:

953 – Bronze:

954 – Copper

956 – Silver

958 – Blue:

BLACK IRON OXIDE:

RED IRON OXIDE:

COPPER OXIDE:

CHROME OXIDE:

MANGANESE DIOXIDE:

You can play with Other Raw Pigments, but make sure you ask for what’s in them & if they can mix with your glazes. Certain minerals and metals will cause your glazes to crackle or drip off the surface during firing, and some may cause explosions.

Pottery Tools:

You can get these awesome starter kits:

1- niceEshop 30pcs Clay Sculpting Tools Pottery Carving Tool Set Wooden Handle Modelling Clay Tools with Pouch Bag 

2- Celendi Professional Sculpture Carving Tool Set:  The review: Both of these sets give you a vast range of possibilities for turning, hand-building, carving, trimming, and marking.

Some of my tools come from Pottery Supply House, or Sial. Some I made myself. Marking tools really come from your imagination and almost anything can be used. You can spend a small fortune for them or make them yourself. You can get loads of materials from the dollar store to make them.

Brushes & applicators:

I found that Calligraphy Brushes & Bamboo Brushes worked the best and I indulged in a variety of big ones. They hold much more glaze and helped me achieve more uniform coatings when I wasn’t dipping the bisqued pieces. They also allowed me the finer tips for greater details when wanted.

You can easily get squeeze bottles from the dollar store, but the drip control is better with pro tools.

Miscellaneous: I also mixed into my glazes and onto the surface of my clays, asphalt, beach sand, glass beads & marbles, gold, silver, & copper wire, and a variety of metal dust. Some came from pottery supply houses, some from hardware stores, some simply found.

Warning: I don’t suggest you use any of these without supervision, or a go ahead from an experienced kiln technician or master potter. Some of these release gases in the kiln that causes other glazes to change color drip off the pieces, and they may even explode in the kiln. I used my knowledge of chemical reactions combined with the careful study of firing mistakes to create my results. And, I always had the benefit of masters advising me on the potential dangers.

Photoshop for Mac:  The Review: You could use the free “ MAC Photos” program or Picassa and possibly get the same results, but Photoshop offers you the flexibility of presenting yourself as a pro photographer, like no other program. There’s a reason it’s considered the best of the best, after all. So, this allows you the possibility of selling this service to others and funding more of your creativity

Apple MacBook Pro 15.4″ Laptop: The Review: You may choose to get an iMac for the bigger screen, and I couldn’t disagree with the beauty of working with the 24” screen. I picked the laptop, because of the need to be mobile and the flexibility of multi-purposing it to use for client demos. As an alternative to the weight of this model, I would suggest the MacBook Air 13”. Most of us have become accustomed to mobile device size screens and it is much easier to carry around.

Camera: Canon EOS Rebel T6 DSLR: The Review: My first DSLR camera was the EOS Rebel T3. This one is vastly superior to the old model. Canon has a well deserved reputation of having top rated cameras. It requires a little play time to master it, and that time will be lessened by defining a clear idea of what you want to do with it, then jumping on YouTube for the multitude of How To videos. If you want a smaller camera to carry around, try Canon EOS M10 Mirrorless Digital Camera OR go small & powerful with the Canon PowerShot Digital Camera with 3-Inch LCD & built in wifi.

Canon PIXMA MX492 Inkjet Printer: The Review: For me, this has been the easiest to use for cleaning and cartridge replacement. It works reasonably well with recycled inks and the wireless is easy to set-up. The Canon has worked best for me on ink usage. When purchasing printers, always consider the cost of ink replacement… for the most part, this is the big difference right now in printers. For big reproduction lines, it is better to outsource. For scanning, they are as good as the camera in them… this is one reason I’m a fan of Canon products. It does do a nice job on printing photos on good photo paper, and the black print is crisp and clean, provided you do regular cleanings and keep it dust free.

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