Here is another lid I made this morning for a small Kuro Oribe jar. The
glaze is a green oribe, but with some adjustments it ended up with too
much alumina and the color got rather dark. This combined with putting
it on a iron rich clay body made it a mottled greenish black. I didn't
think the pink ivory would be so pink. After getting the oil, it's
almost red. It's all natural color, I didn't stain it.
I had so much fun with the lid I decided to make some more, plus I have
lots of failed tea caddies laying around to work with. These lids are
made of pink ivory with rosewood knobs.
I made some failed tea caddies a while back, but wanted to use them for
something, so saved them as candidates for having lids made. Thought
they might be nice as little spice jars, etc…
Finally pulled out the lathe, dusted it off and gave it a go. Used an
old piece of olive wood that I'd had laying around for a long time. Put
a little piece of rosewood on that as a handle/accent. Lid ended up
looking like a had with a feather stuck in the brim.
in Taku, Japan
Here are some additional shino experiments from a subsequent firing. No
added/sprinkled wood ash. Again, it's a just personal taste, but I like
the charred parts on the foot.
I'll be including some weathered chunky feldspar in the glaze mix for
the next round of tests. Hoping to get some of that sugary surface like
Pics of the chawan were taken after it spent time in the 'aging tank',
which is a tannin soup, made by steeping chestnut husks in water. I
originally made this solution for dissolving the brown film from the
surface of green oribe glaze. Stinky, but safer than working with
in Taku, Japan
When you use the pine branch as an anvil, burning and brushing the end
grain to bring out the growth rings, this is what you will get on the
interior of your pot. This is a rather uneven example. With practice you
get a wave or fish scale effect. I often decorate the lid with the anvil
as well to mirror the interior of the pot.
I make my bats in the same way as paddles, with the burner treatment.
Then the bottoms of everything made on them reflects the nice wood
figuring. I make the bats out of cedar because pine is so pricey. Too
bad, because pine often has nicer figuring.
in Taku, Japan
After burning the paddle, take a soft brush and brush the surface clean of the carbonized matter. I use a brass brush for this, or sometimes stiff plastic. Steel is too stiff and will scrub out your hard earned texture. Use water during the brushing process, or you’ll end up looking like a coal miner after a hard days work.
When I looked at the old pots, the surfaces were sometimes pocked with odd bumps, bumps which didn’t look intenional or man made. Finally realized this could have been from wormholes in the paddle used to make the piece. Lacking access to highly trained, hungry pine beetle larvae, I used a rusty nail held in a vice grip to burn texture similar to worm holes into the surface of the paddle. Holding the vice grip away from you heat the nail until red hot with the burner, then jab and drag it into and across the paddle to create your texture. Use your imagination, have fun!
Burn and brush again to knock off the sharp edges from your texture and you’re finished! I don’t usually burn texture into the whole surface of the paddle, since different parts of the paddle can be used for different effects.
This paddle was textured with saw cuts before burning for the crosshatch design.