The first abalone dish dried successfully, so today I started making more. I also started a small run of shiboridashi teapots. These are always good sellers, because they are easy to use and clean, with no hard to reach holes or metal sieves to collect grime.
I always carve the grooves as early as possible, because as the clay gets harder, it becomes difficult to carve without tear out. Then I put the lids on, so that they dry evenly without warping, and after trimming they will go into the kiln to be fired together, to avoid any warping.
Loading of the first chamber began this morning.
The stack starts at the bottom from back to front. This part of the firing process is very important because it determines where the fire and heat will go during the firing. A bad stack means you will have poor circulation and you’ve doomed the firing even before you’ve lit the fire.
The bottom of the stack is pretty much done, and the ware from 9 ware boards got stacked in there, which is about 80 pots give or take a few.
Here is my latest pot porn for you: freshly stamp milled, slaked, and filter pressed cakes of Izumiyama porcelain. 150kg.
Not for the faint of heart, Izumiyama is hard to work with. It is non plastic and likes to crack during drying, impossible for slab work, and deforms easily. And it costs more than twice as much as Amakusa porcelain from Kumamoto. Most porcelain artists in Arita and Imari switched to using Amakusa porcelain long ago because it’s much easier to work with, doesn’t crack, and fires whiter.
BUT! The beauty of Izumiyama in the wood kiln is absolutely undeniable. It fires to a soft ivory white and blushes in very subtle shades of peach. The surface is deep and translucent and vitrifies as low as around 1230C.
Tomorrow morning first thing, Peter the Pugger will be getting a major workout!
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:
(I do make a ‘Shino’ glaze, but do not call it Shino for fear of reprisal.)
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!
Fired with cones 6,7,8 on top and bottom shelves. Pyrometer at middle shelf, didn’t display over 1215C.
Hotter on bottom than top. By cone, looks like cone 9+ on the bottom, cone 9 at the middle, and cone 8+ at the top.
Reduction strong at top shelf, weaker at middle and bottom.