These last 2 weeks I have been getting over my fear and loathing of slabs, because I have finally figured out how to keep them from cracking during drying. So, lots of slab plates for starters, then a customer came in who wanted even more in different sizes for his sushi restaurant. This is good high end restaurant, and there is a very high chance of repeat business.
Anyway, I had been using someone else’s risers for my plates, but since I needed my own anyway, I spent a few hours today mixing up some fireclay and press molded my own risers. Below are pictures of the very simple process. These risers will be used during drying and also during firing to support corners and edges. The fire clay is very rough and easy to grind off if the glaze runs and sticks to it.
Here are some of the plates that have been made so far:
In a recent massive cleaning around and in the studio, I changed things around to utilize some of the outside space more efficiently. One of the most important things is that I now, again, have a setup for processing clay and ash that I have collected and burned.
I had been getting close to finishing off my stores of collected clay that I processed some years back, time to start doing it again. I think I have a better system this time, and I have an inexhaustible supply of pine ash for now, too.
I have buckets, bags, and jars full of old collected clay and dry trimmings that need recycling. It should take some months to get it all blunged and pugged.
The Choppage ‘cho’ ‘pah’ gay’, is a traditional Korean tool for scooping off clay and other materials without disturbing everything underneath. It works much better than a ladle. I couldn’t find anyone who made them anymore, but my mentor still had one which is kindly letting me borrow.
I just agitate the material in the bottom bucket, wait, and scoop off the stuff that settles last.
Then, later after it settles in the upper bucket, I siphon the water back down into the main bucket. When enough of the upper bucket fills with material, I dump it into cloth lined basket or plaster to get out the excess water.
With the ash, the process is the same, but after I get out the good fine ash I transfer it into another bucket and wash it some more to get out the nasties. The nasties cause problems with glazing sometimes and I don’t like them. I do save the water containing the nasties for other uses.
The leftover rough ash stuff seems like a waste to just throw away, so I am thinking about ball milling it to see if it can be useful in some other way. We’ll see…
The sieve is 120 mesh, because I lucked into a cheap recycled sieve. I would usually use 100 mesh, so it is not much of a difference.
I’ve just come off of a week of pot showing and selling, sharing space with some very fine young (and older) potters who are making crazy good work. This last week was Karatsu Yakimon Matsuri, which ran concurrently with Arita Touki-Ichi. This was the third year for the Karatsu event, and attendance jumped to 100,000, from 70,000 last year.
The theme was tableware, and there were many collaborative exhibits between potters and chefs. What a great time it was to see all of the wonderful work. Gave me a LOT of new ideas and inspiration, as well as some great feedback from customers and restaurant owners.
I had been scheduled to go to the Mungyeong Teabowl Festival, however the ferry accident resulted in most or all of the spring holiday’s festivals being cancelled or postponed.
This is the teabowl that fell into the firebox during the last firing and broke into about 12 pieces. After falling and breaking, the firing continued, and the larger shards warped a bit, making it hard to get the pieces to fit just right.
Everything went back together, but some of the spaces were 1mm wide or more, and a lot of filling was required. Not only that, but the edges of the larger pieces didn’t meet evenly, making a lot of uneven fill lines. I thought about grinding down the higher edges, but in the end decided against that, because the fill lines were already so wide in some places.
So, here is the finished piece, with the lacquer and gold brushed on over the fill lines. A pro could have made thinner, more even lines probably, but it was good practice for me. A few more days to dry completely, then it will be time to whip up some tea…
Lately I’ve been experimenting with ways to age pots more quickly, making the crackle stand out. This time I tried an old woodworking trick, and it seems to work nicely.
I soaked the pots in a strong tea bath then dried completely. After that, I applied iron acetate with a brush and let them sit a couple of days. The iron acetate reacts with tannins and turns a dark color within about 3 days. I made the iron acetate by soaking steel wool in vinegar. I may change to a weak sulfuric acid solution, since the smell of the vinegar is proving difficult to get out of the pots!