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.
I had to make a batch of slab plates after the fall wood kiln firing, because every one of my slabs cracked in that firing. Turns out the clay I used was high in silica, and didn’t agree with the long wood kiln firing. The silica turned into cristabolite, and all pots made with that clay experienced shivering, or cracking, no matter what glaze they were paired with, and across a range of temperatures.
Forward a few weeks, and I’m frantically trying to get some replacement plates fired because this weekend is the fall open studio event, followed by an exhibition in Nagasaki during the first week of Dec.
For the most part this firing went well, aside from the fact that I exploded my large platter. Drat.
….is without a doubt the Peter Pugger de-airing pugger/mixer. Until two years ago I did all of my clay and stone mixing in a large deep platter by hand, and it was killing my wrists. Hearing all the wonderful things Peter Pugger had to say on their website, I took the plunge and decided to spend the money and save my hands. I figured if the thing worked half as well as it was supposed to, I would be ok.
Well, it is now about 2 years since I got it and it does everything it is reputed to do, and does it very well. My wrists are now pain free, and I have saved hundreds of hours of time processing and blending clay bodies.
Blending wet clay bodies usually takes about 15 minutes of mixing, but mostly I mix dry materials with water (sometimes blending into wet bodies), and this takes a while longer, usually around 30 minutes.
In my work, keeping the character of the wild clay is of utmost importance, and I’ve found that de-airing generally kills that character dead. However, the de-airing is necessary in getting the water to penetrate the dry materials more quickly, so that I don’t have to let the pugged clay sit for a month before using.
My solution to this is to let the clay mix, then I de-air it once completely, followed by re-mixing the batch for 5 – 10 minutes after reintroducing air. This gives me clay that is not as easy to throw, but which gives very nice trimmed texture.
Here are some pictures of some clay from the other day which I collected from the mountain behind my home. I added the dry/damp clumps of clay to the hopper (removing as many large rocks as I could find), then water, then mixed. I repeated these three steps until the hopper was full, then mixed for about 20 minutes, turned on the vacuum pump, and de-aired completely.
Next I went to lunch. It was yummy. It was sunny on the deck and there was a cool breeze. The neighbors have a great cherry tree in full bloom and the wind was blowing the petals off, and they were fluttering across the yard like giant pink snowflakes. I noticed as I saw some of them fall across the deck that the wisteria was budding out and even starting to show some purple. Nice. I imagine the wisteria will be in full bloom a few weeks early this year.
After coming back to the studio, I re-introduced air to the mixing chamber and mixed some more, then pugged it all out and made some pots. The whole process took about 2 hours. It takes even less time if you decide not to include lunch, but I recommend including it.
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.
Getting ready to set up a whole kiln load of glaze tests to fix my misbehaving ame (iron/ash) glaze, and realize that I’m out one very important ingredient, red ochre collected from a place right here in Taku. Completely forgot that I had used the last of it in my last glaze batch mixed up a couple months ago. Doh!
So…. Delay the mixing of test glazes for tiles and cups, I had to spend the day crushing and sieving red ochre. I haven’t used my man powered stamp mill in a while, and I added too much material to the mortar. My wooden pestle (4 foot long pole) that I use to stamp the material was just not up to the task because it was too light to sink down into the material and get it circulating in the mortar. To remedy this, I retrofitted one of my wooden pestles with some 3cm diameter round steel bar left over from a long piece of bar I cut into sections for my kiln’s grate bars.
This new pestle worked really great, so great in fact, that material was flying out of the mortar from the striking force. So I proceeded to cut down a large cardboard box to keep most of that stuff from flying out or away. It is really hard work digging it, carting it around, and crushing it, I hate to lose any at all.
So anyway, here are some pictures of today’s festivities, and I did wear a dust mask, so I don’t have to worry about getting red lungs…