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The Newsletter for Raku Artists and Raku Art Lovers
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May/June 2004
Issue #20
Published by
Gary R. Ferguson - Raku Artist
http://www.garyrferguson.com
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In This Issue
* While the Smoke Clears - I'm late
* From The Studio - Web Sales and No June Show
* Article - Signing Your Work
* Tips/Techniques - Stop Cracking Plates
* Q&A - "Vanishing" Colors
* Glazing - Faux Fuming
* Reader Feedback - You said it
* Calendar - Limited in 2004
* Click Away - Raku on the Internet
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* While the Smoke Clears *
Welcome to another "late" issue of Just Raku. As you remember
I was late last month and guess what - I'm late again. Like anything in
life, I guess once you're behind it's hard to catch up.
Our new baby, Trevor, is doing fine. He just likes to be up most of the
night, so sleep is a precious now and probably will be for the next few
months.
I had to pleasure to meet another Just Raku subscriber last month.
Hello to Gary C. in NM. Hope you had a great visit to Idaho.
Remember I always look forward to your feedback, suggestions,
questions, and article ideas at: mailto:editor@garyrferguson.com.
Gary R. Ferguson
- Raku Artist -
mailto:pottery@garyrferguson.com
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Would you like to dine out for 1/2 price? Get the annual Entertainment
book now and save 50% at your favorite restaurants. Free shipping is still
available at: http://tinyurl.com/ubmk
I personally get at least one of these books every year.
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* From the Studio *
Well I learned I won't be in the June Art and Roses show that I have
done the last few years. Apparently I got my application in a couple days
late (probably having a baby or something weird like that) and lost my
spot and now I go to the bottom of the waiting list, which apparently is
very long for potters, photographers, and other non-painting oriented
artists. My fingers are crossed for next year.
I've done very little eBay sales this last month - probably due to the
fact I have not listed very many items. Funny how that works.
On a positive note - sales from my website have been way up. There has
been a big run on plates and shard wall art pieces. Now I have to get to
work making more of these type pieces.
I heard back on my slides for the juried book "500 Cups" book
that Lark Books is putting out and no pieces were accepted. Drat!
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* Article *
Signing your work
One of the most important things you can do to "finish" a
piece of art is to Sign it. This is how you say, "Yup, this work is
mine - I am the artist." Many buyers of art are very interested in
the artist so having a recognizable art by the signature can be a great
marketing tool as well.
The way "normal" pottery is signed it with a light carving of
the artist's name in the bottom of the piece, or the use of a dark oxide
to paint the signature on the piece.
With Raku, I take a slightly different approach. Carving in the bottom
would be possible, but it would be another factor to help stress cracks
form, and because the fired clay is so fragile, any high/low edges would
be prone to chipping.
Also the option of using an oxide is not very appealing because the
bare clay normally turns black during the reduction process and would mask
the dark oxide color.
Because I look at the signature as the "final" step in the
creation process, and so many pieces of Raku do not survive the process
for one reason or another, I do not like to sign the piece until the piece
is completely finished.
What I do is sign the finished piece using a gold paint marker. These
are sold under a variety of names and styles and thicknesses. This way the
piece can be fired, cleaned and dried, and then only if it meets your
quality requirements, signed to be sold. I also really like the look of
the gold color against the dark black background.
There are a few other things to consider when signing your work. The
location of the signature is one of these. Some people sign on the bottom
of the piece, others sign the front the piece (much like a painting). It
seems to me the more famous the artist the more prominent the placement of
the signature.
The next thing to consider is dating your work. Some artists' feel
dating your piece is very important in recording the "history"
of your work. So collectors know what period the work was created and can
potentially collect an annual pieces, etc. Other artists don't date their
work so as to keep the production period, more or less, a secret. They
feel if a customer looks at a piece that is still available (for sale)
after 2 or 3 years, they figure there must be something aesthetically
"wrong" with the piece because it has not sold yet.
I generally do not date my pieces, but I have had special request to
date a particular piece, which is easy for me to do since I sign using the
gold marker described above.
So it's basically your decision, but regardless of how you do it, you
should "mark" your work.
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Raku: A Practical Approach by Steven Branfman
The "nuts and bolts" how-to book of Raku
Order 30% off at: http://tinyurl.com/8m5k
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* Tips and Techniques *
A reader wrote she was having problems with plates cracking during the
Raku firing. I suggested the following tips:
- Wedge the clay really well before throwing (I was having cracking
problems due to not doing this)
- Wedge Kyanite into the clay as additional grog
- Thicker is usually a little better but consistent thickness is the most
important element
- Bisque fire (slowly) the place flat on a bed of sand
- Raku fire a little slower than normal (especially if you fire the piece
on end)
- Be very careful with the tongs both on grip and torque (twisting of the
piece) when removing it from the kiln
- Carefully lay the piece in the combustibles (don't bang the side or
bottom of the container).
- Let the piece cool in the reduction chamber for 30-60 minutes before
quenching with water.
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* Q & A *
Q: I produced some Raku items and used a high alkaline glass with 3% of
copper oxide. The result after post firing was great, new penny color to
soft turquoises, etc. I was really very happy. By chance I read yesterday
in David Jones' book "Investigations into Fire" on page 28 the
following: "After cooling, the 'reds' and 'copper' are only loosely
bound to the glaze matrix and can slowly re-oxidize in the atmosphere.
Thus we have the phenomenon of the metamorphosing glaze that can turn from
harsh new penny color to soft turquoises, unless they are sealed with
lacquer! This phenomenon can also be recognized in the way that a copper
roof will change to green in time." etc. I was startled when I read
that passage. I don't want my piece to lose its stunning reds after some
time.
A: There are lots of opinions about "vanishing" colors of
Raku pieces. The idea is the reduced sections of the glaze (reds and
coppers) will reoxidize over time and turn to brown and green). Some feel
this completely invalidates the art because it is not permanent while
others consider this changing of colors "part of the art." I'm
more along the lines of the later. I've never really noticed a change in
my glaze results - but I haven't really compared before and after pictures
either. I don't coat my pieces with anything, because the few times I did,
it seemed to drastically affect the result (loss of color, sheen, etc.). I
do feel that the more glossy (higher glass formation) the glaze the more
permanent the color. Also keeping the piece out of direct sunlight and
avoid cleaning with harsh cleansers or brushes will help preserve the
colors. Enjoy the colors no matter what they are or how they change.
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Show your support for the Just Raku Newsletter by pledging a donation of
any size at: http://tinyurl.com/52cq
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* Glazing *
Faux Fuming
Reader Jerry A. wrote he is having great results that look like the
piece has been fumed with silver by layering Hawaiian Blue, Piepenburg
Patina, or any of the various Copper glazes over a Clear Crackle.
I would assume you would thickly apply the Crackle and thinly apply the
Copper glaze and then reduce heavily.
I'll have to give this a try.
Various forms of these glazes can be found at: http://www.garyrferguson.com/rakuglaz.htm
or a complete recipe collection can be purchased at: http://www.rakuglazes.com/?NL0406
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Raku Pottery by Robert Piepenburg
The must have "Bible" of Raku
Order at: http://tinyurl.com/8m5b
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* Reader Feedback *
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Good morning. I am planning to test the Gold Raku glaze from [the last]
issue at a workshop this weekend. Any chance you could give me a little
more info? Glaze thickness? Amount of post-firing reduction? I enjoy your
newsletter and have passed it on to the owner of a pottery school here in
New York City who had not heard of you. And am sending it to a potter
friend in England who runs summer workshops doing single fired wood firing
and always includes a small Raku firing at his workshops. Keep up the good
work and thanks.
Diana R.
Hi Diana:
I brushed two coats of glaze on the piece.
I fired to about 1850F - 1900F
Moved it to the reduction chamber fairly quickly
It is definitely a glaze you will want to strain through a screen before
application.
I appreciated the "forwards"
Good luck and let me know your results.
Gary F.
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Dear Gary,
Congratulations for a baby, enjoying your newsletter very much. I have
some problem with glazing that when I took out
hot work from the kiln & after reducing some parts of the pot is
totally black & there was no glaze remain, some time glaze is not
smoothly merged it looks like peel off. I have a show in May so if you can
give me answer early I will be thankful to you.
Yours truly,
Falguni B. (India)
Falquni:
This sounds like either severe crazing (called shivering) or the piece is
not being glazed thick enough. If not enough glaze is used, you may get
black (bare glaze) sections. Severe crazing (where the glaze basically
doesn't stick to the clay can be cause with an incompatible clay/glaze
combination, or the bisqued piece may be dusty and need to be cleaned
before the glaze is applied.
Hope this helps.
Gary F.
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Hi Gary,
Thank you for all of the effort and time you put into this wonderful
newsletter. I have passed it on to many friends already. I have a question
concerning fiber fax. First of all for Rakuing in an oil barrel, is 1/2
inch or 1 inch recommended? I always fired with a guild in Alberta and now
am striking out on my own. The other question I have concerns fiber fax
over kao wool. Have you used both and do you find a durability favorite?
Thank you for your time,
Colette B.
Hi Colette:
Basically the thicker the fiber used, the better the heat will be
retained, so the less fuel you would need to use. So really you can use
either (they have 2 inch as well). As far as brand names, etc. I'm not
aware of any real differences. You need to know what temperature the
material is rated 2500F, 2700F, etc. But I think any of it would work.
Gary F.
* * *
Hi Gary.
Love the Newsletter and my pottery partner purchased your online Glaze
eBook. We have been experimenting with them. I love it. I sent an email
earlier but it must have been when you were having problems. Any way here
is my question. Are they still mining Gerstley Borate? Recently I was at
my Pottery Supplier "Southern Oregon Pottery" and was told that
they had quit mining Gerstley Borate and if I wanted more I should
purchase it then. I went ahead and purchased 100lbs. That is a large
amount for me as I am just a beginner. The owner told me some folks were
coming in and when they heard that Gerstley Borate wasn't being mined
anymore they estimated how much longer they would be alive and doing
pottery, how much Gerstley they used now multiplied it together and came
up with a figure. He said some folks were buying one or two tons of it.
Do you know anything about this? I see you have a substitute in your book
for it, is that what you would recommend we try? All of the glaze recipes
that we like have Gerstley Borate in them. Do you see this being a
problem?
Thank you
Richard H.
Richard:
GB is Gone! No wait, GB is here! er, GB will be around a little while...
I've heard it all, and unfortunate I believe it is all correct. The
company that was producing GB announced it would stop production. This
caused a major outcry. Laguna, I believe, announced it would start
production again, but only for a few years. So my recommendation would be,
if you want to make sure you have an adequate GB supply, buy what you can
(I don't think I would buy a ton though), but I would serious consider
some of the alternatives that have been developed or proposed as a
replacement and start testing formulas with these new options, just to be
on the safe side over the long haul.
Gary F.
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Hello Gary,
I am an inner city high school ceramics teacher in St. Louis, Missouri who
enjoys watching students' eyes light up whenever the Raku Kiln is fired
up! However, I have been interested in expanding the students experience
by exploring various firing methods such as saggar firing. I don't have a
gas kiln in my room, but I was wondering if it was possible to saggar fire
in my Raku kiln? I am using propane. If this is at all possible, what
temperature/cone should I aim to reach? Do you have any experience with
saggar firing, and if so, what materials have you found that work best for
you? I have heard of some who soak their combustibles in a solution of
iron, copper, cobalt, etc. What do you recommend? I have thrown a lidded
container to be used as the saggar... should this be "sealed
tight" with kiln wash to prevent smoke from escaping, or is it ok for
a little to get out? Also, how long do I want to wait before I remove the
saggar from the kiln? I am adding grog to my ^6 buff clay body, burnishing
it along with several layers of white terra sig. Any comments,
suggestions, or help would be greatly appreciated by both my students and
myself. Thanks in advance for your time!
Sincerely,
John.
P.S. Congratulations on your newest arrival to the family. My wife and I
are expecting our first at the end of July! It's a girl!!
Hi John:
I'm far from a Saggar expert, but I can tell you what I know (or think I
know). Yes you can Saggar fire in a Raku kiln. I would not plan on firing
any hotter normal than Raku temperatures (^06) in fact I would recommend a
little lower (^02). As far as materials go - anything goes, I've heard of
all kind of colorants, salts, combustibles, cat food, banana peels,
aluminum foil, copper wire, etc. You can apply them dry or wet, but the
most important thing is to try and keep the colorants as close to the
piece as possible. I would not seal the saggar tight so there is some
variability in the result. With a saggar firing - I would let the piece
cool normally until it can be handled as opposed to pulling it when still
hot like a Raku piece. I seems that burnished pieces do have better
results than unburnished pieces, so I would go ahead and continue to do
that. Hope some of this helps. Congratulations on your future arrival - my
advice to you - Get a lot of sleep NOW!
:)
Gary F.
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Dear Gary,
First, I would like to thank you for your newsletters each month. I
certainly consider your information and also your readers' input a wealth
of knowledge. I am a 55-year-old, self-taught, southern guy potter,
enjoying the learning challenges this craft provides. I have only been
bitten by the Raku bug a short while now, and love the experiences in the
results Raku brings. In regard to the April topic on reducing markings in
reduction, I would like to share an experiment I now use with pretty good
results. I cut 1"x12" cedar wood pieces to fit my reduction
barrels and place them atop straw, paper, etc, then straw and papers, etc
around the sides close to where the pot or pots would sit. The pot is
clear but the wood and other materials will ignite immediately. Maybe some
of your readers can take this idea and play with it to achieve something
they might use.
Thanks again,
LaVelle E.
LaVelle:
Thanks for the kind words and the interesting reduction tip.
Gary F.
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Hi Gary,
I am the Ceramics Instructor at Kirtland Community College in northern
Michigan. I am working on my 18th year of fun (they actually pay me to do
this!). Concerning keeping Raku pottery clean, we have been heating a
brick along with the ware, the brick is put in the reduction chamber
(shredded paper in trash cans) just prior to the ware, than a small piece
of plywood is placed in the can on top of the hot brick, which has ignited
the paper. The pottery is placed on the plywood keeping the paper from
touching the ware. We have gotten 100% clean coppers this way.
Thank you
Mike W.
Hi Mike:
That sounds like another great reduction technique to try. Thanks for
sharing!
Gary F.
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Gary,
Just wanted to say two things... first off, congrats on the new
addition!!!!! and thanks for the great newsletter. I'm moving across the
county shortly and I suspect will not have the support of other potters
the same way I had it here, so will REALLY rely on your Just Raku
resources to get me thru my first solo Raku firing.
Robin M.
Robin:
Good luck with your move and I'm glaze "Just Raku" can be your
surrogate "potter's guild"
Thanks,
Gary F.
* * *
Congratulations on the new addition. Aren't babies the best? You
mentioned applying for "500 Cups." Where do you get such
information? I came back from NCECA this year with "500 Bowls"
in hand. Some of the best eye candy I have seen. But as much as I searched
the publication I could find no clues as to who to contact for such
information. Good luck with your slides.
Thanks
Nancy H.
Nancy:
If you check out the http://www.larkbooks.com
website, they will list new publications they are seeking slides for along
with the application, etc.
Gary F.
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Dear Gary,
I'm just learning [the Naked Raku] technique, and am using white clay.
After my pieces have been fired they are turning out white and gray. How
can I get results of a black and white finish? Thank you very much for any
information.
Ziggy
Hi Ziggy:
You don't describe your current process, so I can't really comment on
changes. I do know the typical process is to coat a piece with a thick
slip (and in some cases a glaze as well). The piece is fired and then
reduced with heave smoke. The smoke penetrates the cracks of the slip to
color the clay. The slip is then peeled off the piece to reveal the bare
clay with smoked craze lines (hence the term "naked" Raku).
Hope this helps.
Gary F.
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* Calendar *
My show calendar for 2004 will probably be smaller than in the past. I
only plan on doing two or three shows, but spending more time focusing on
eBay sales. This way I can spend more time with the family and less time
sitting in a booth.
Nov - Beaux Arts Holiday Show (Tentative)
TBD - Studio Open House
On going eBay Listings http://tinyurl.com/tn08
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* Click Away *
The Potter's House
http://www.pottershouseraku.com/
Matt Hoogland
http://www.pitfire.com/
Just Raku Logowear
http://www.cafepress.com/justraku
Got Raku? It does a Clay Body Good!
http://www.cafepress.com/gotrak
Just Raku Newsletter Archive
The past issues can be found at http://www.JustRaku.com
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Raku: Investigations Into Fire by David Jones
Order 30% off at: http://tinyurl.com/8m5x
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JUST RAKU (C) Copyright 2002-2004, Gary R. Ferguson
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