All posts by KaratsuPots

Shinot Noir

Warning: some Shino enthusiasts may find content in this post offensive and/or snarky. 

When I was in Korea this last  October, the subject of Shino came up. Shino, like Raku, Chawan, and Geisha, tends to have a different set of meanings and expectations, depending on who you are talking to (usually Japanese vs non-Japanese).

Most Shino enthusiasts in Japan get their pantaloons in a twist when they see this smooth orange, white, or carbon trapping glaze that most Americans call Shino. “Sore wa Shino janai” is a  common thing to hear when showing off your American Shino to a Japanese Shino lover.

In Japan, Shino is a combination of clay, glaze, and firing method. The definition is somewhat cramped , and leaves little wiggle room. Same with Raku, Chawan, and Geisha. There is all this history and tradition hanging on at the end of the label, foiling our attempts to  add new dimensions to the term.

Here’s the problem: The Shino purists are vastly outnumbered. Actually, I’m one of them (to a degree) but acknowledge that on the worldwide level, Shino means more  to a whole lot of world potters and enthusiasts. I really wish the word had not been co-opted by English, but it has, so oh well…

Embracing this trend, I have decided to widen the definition of Shino even further. Here are some examples:

Satin black Shino
Flowing matte white Shino
Soft blue Shino
Clear Shino
Bizen Shino
High silica Shino

Unglazed low fire Shino
Petroleum Flex Shino

(I do make a ‘Shino’ glaze, but do not call it Shino for fear of reprisal.)

Slab plates

This is one way I make slab plates. I posted the pictures to FB but am reposting here with descriptions of each step. You can adjust the steps if your clay is more or less forgiving than mine. 

First cut slabs and let them rest overnight to stiffen up some. These slabs are 10mm thick. 

Trim the slab with an undercut bevel, and save the trimmed edges. 

Sprinkle something on your form to prevent the clay from sticking. I use corn starch. 

Place the trimmed slab bevel side down on your form and paddle it THOROUGHLY, from center to edge, then once more evenly all over.  You can use whatever you want as a paddle, here I used a sandbag, but I usually use a wooden paddle. 

Place the trimmed edges you saved back on the paddled slab, followed by a paper towel or other cloth, and your board. Turn over the form to release the slab onto the board. 

Press the center of the slab down gently and let the edge pieces support the edge of the plate. While supporting the edge with one hand, use the other to define a concavity in the bevel with a convex tool. Anything convex and with a curve you like will work. I used a little ball here. Sometimes I use a rib, sometimes a roller, sometimes a clamshell. I like rollers and balls because they compress the edge well. 

Finish and further compress the edge with a damp (not wet) chamois or sponge. Done!