This firing of the kiln went too long, resulting in Orton cone 11 flat. Ideally, it would be cone 11 touching, then sagging a bit.
Upon unloading the kiln this morning, one thing was immediately apparent: the right side was far more reduced than the left. Yellower glazes and more slumping. Even on the left side there was some slumping, because of the excessive temp., and because of the clay which contained some low temp high iron clay to help seal the ware against leakage.
Chosen Karatsu came out pretty good, but the white was on too heavy, running down the pots too much. It still came out looking ok because of the clay.
Most of the teabowls warped or sagged, so I only get to keep 2 or 3 of the 15. This is why teabowls are expensive, kids…
All in all, not a bad firing, but need to adjust clay bodies, and pay closer attention to cones. Also, figure out the over reduction on the right side. It might be that one burner that sounds a bit off.
I’ve gotten pretty far behind keeping up with the blog, falling into the bad habit of making small posts to Facebook. One of my areas of increased effort over the next year will be to work more on maintaining the blog, and getting it more integrated with other forms of social media. Trying to keep track of them all is like trying to herd cats.
I had made one promise to show before/after pictures for a couple of pieces, the first of which is the slab/paddle built sake chiller w/ feet and lugs:
The other thing I’ve been working on since early this year is getting a usable kohiki/clear glaze combination, because for some reason a lot of customers have been requesting white work. They have also been requesting black, so I’ve been working on getting a reliable semi matte black glaze. Mission not quite accomplished, but I feel I’m most of the way there. Here is the kohiki I’ve come up with and I am happy with it:
Here are some of the pieces with the new black glaze. It seems to look best thin, and as with most glazes looks nicer over interesting wild clays rather than processed clays.
A lot has happened over the last month since the Karatsu pottery festival, mostly cleaning, shelf building, and shifting things around in the studio in preparation for the open studio event which happened this last weekend from June 19th to June 21st.
In rough chronological order, here is what has happened in May:
Plates formed over wood slabs of various sizes
We got our garden planted and our first Jalapenos soon followed!
Another type of crop: Good batch of Madara Karatsu guinomi from late April firing. Body is mostly crushed sandstone with a bit of native low iron clay to help keep things together.
In prep for the open studio event, I cleaned the deck and brickwork of the backyard. I did not realize just how overgrown with algae and moss it had become until it was clean again.
One of the worst sections, but it felt really cathartic blasting all of that green away, leaving nice clean trails of clear, brown wood.
Entrance to the yard event space, tents and blue tarps up to keep out the rain. Luckily, although it threatened a few times, it never really rained, and the last day was actually sunny and hot. This is the middle of monsoon season folks, we totally lucked out.
The spot for gamblers. 500 yen per turn, no losers. One grand prize, 15 second place prizes, 25 3rd place prizes, and 100 4th place prizes. One grand prize went out every single day of the 3 day event. Happy customers!
This discount table was a new strategy for me. Turned out to be great for turning older pots into cash and additional storage space in my studio showroom.
Knife and tool maker, really nice stuff for reasonable prices
I had a gas firing a couple of weeks back which was mostly line blends and other glaze combination tests. More than half of the ware in the kiln was glaze tests. Finally trying to get to the bottom of my Chosen Karatsu glaze woes, which started after my ash source changed. Both of my bread and butter glazes stopped working, and it now seems that I just made a spectacularly bad choice for my replacement ash. I tested 3 different ash types in the load and came up with two types that seem to work pretty well. I will mix up small amounts of both glazes with this new ash and see how they work. If things look good, I can then go ahead and mix up a larger batch.
I made a batch of soba choko as well, to take with me to Tokyo toward the end of this month. I’ll be participating in a small event and needed some small things to take and show.
In prep for the spring firing of the wood kiln, I’ve started making work a little different that I have done before, more playing with rim shapes and putting feet on things. The larger platters are actually inspired by some old Shino and Karatsu pieces of similar shape. Almost everything pictured in this post is porcelain, either pretty white stuff, or ‘dirty’ having been run through my pugmill which contained red stoneware previously. I always hear how porcelain is so difficult to work with, but my experience is the opposite. It seems very forgiving compared to my usual short, large particle clay bodies.
The unloaded pots have now been hammered, moved inside the studio, or are getting refired. The ones that have been moved inside the studio are starting to get cleaned up and polished, in preparation for next spring’s shows.
All in all, there were some 750+- pots in this load. I’m not sure of an exact number because I started smashing before I had a count.
Here are some of the pots that I started cleaning up today. Most of them are small dishes, ranging from 10 – 17cm across. All sizes listed are width, and are approximate measurements.