raku

updated thu 30 jun 11

Sherry McDonald on fri 10 may 96

Tia, A raku kiln doesn't have to be expensive. It can be made with a barrel
and lined with fiber. Handles can be welded on each side of the top. The
platform you mentioned, your concrete pad, could crack, however. Mine did
(but I don't live there anymore) I;m not sure it would have cracked, however,
if I had just built up some red brick, then the fire brick, and shelves. I
think you would be safe to try this, and I think it wouldn't be too close to
the house, except that you will want your reduction can nearby, and that is
usually a smokey proposition, and a good reason to move it away from the
house. Are you afraid of killing grass that you don't want it out in the
yard? I'd just manage to construct a base with red brick out in the yard. it
wouldn't be unsightly, it would be a conversation piece. You'd eventually
interest non ceramic friends and neighbors to come to firings, and expose
them to the wonderful world of art, and clay. I can't tell you the great
times people of all kinds had coming to my house when I was cookin pots with
students, and friends. We always put on the dogs (on a grill) and had chips
and a party. I warn you to make short the distance between kiln and can for
reduction, and be careful to instruct people, especially children to stand
away, and know the rules when it comes time to make the shift. You need old
shelves. sherry

peter pinnell on sat 11 may 96

I know I've said this before, but I think this would be a good time to
mention it again.

There have been extensive inhalation studies done with ceramic fiber and
lab animals, and the results do not look good. Depending on the lab
animal, RCF(refractory ceramic fiber) is either not quite as bad, or much
worse than asbestos in causing cancers and fibrosis of the lungs.

Rats did not react as badly to RCF, but gerbels had FIFTEEN TIMES the
mesotheliomas (cancer of the lining of the lungs) from RCF as from
asbestos. Even in cases in which cancer did not develope, there was a
great deal of scarring of the lung tissue.

No one knows why people develop cancer. Many people are exposed to
carcinogenic materials and never develop problems. Others have
developed cancers after fairly minor exposures. Before I
would buy a large quantity of a probable carcinogen and store it in my
home, I would want to think about what risks I may be taking, both for
myself, and for my family. Do you or anyone in your family have a
history of lung problems? Do you smoke? Are you already exposed to
other dangerous materials, i.e. excessive dust?

Is it your purpose in life to be a lab animal in a large, unmonitered
testing program? Ok, maybe thats coming accross a bit strong, but I
think its worth thinking about these things.

I like the idea of a gas raku kiln made from the carcass of an old, brick
electric. If it were the multi-ring type, you could vary the height of
your kiln, depending on the height of the pots to be fired.

Good luck!

Pete Pinnell
Who hates sending such a downer message.

Rebecca A. Mason on sat 11 may 96

Hello...from a lurker.
I have just about finished building my raku kiln. Recently bought a
house, instead of renting, so that I might continue working in clay (and
own dogs). I do not have a kiln to bisque in....what problems to you see
ahead for me trying to bisque in my raku kiln? I know it might be a
problem "soaking" and obviously I will have to REALLY keep an eye on it.
Another thought I had would be to buy an old grill Weber? ? ? Does
anyone know how hot those things can get? Could it reach quartz inversion?
Anythoughts to help me on my way.

Cool now but suppose to be 90 in Albuquerque today....time to head up to
the mountains.

Thank you, Rebecca

Dave Eitel on sat 11 may 96

>Another thought I had would be to buy an old grill Weber? ? ? Does
>anyone know how hot those things can get? Could it reach quartz inversion?
>Anythoughts to help me on my way.
>
>Cool now but suppose to be 90 in Albuquerque today....time to head up to
>the mountains.
>
>Thank you, Rebecca

I think a weber might work if you lined it with ceramic fiber. And of
course you'd have to get some REALLY GOOD charcoal (:-) Otherwise, it
sounds llike you could just fire on your driveway.



Later...Dave


Dave Eitel
Cedar Creek Pottery
Cedarburg, WI
daveitel@execpc.com
http://www.digivis.com/CedarCreek/home.html

Sherry McDonald on sun 12 may 96

Back to the raku kiln again. It is really a simple thing to make, and keep
out of the way, I don't know that any hazards would be encountered out in the
air with all the ventilation around you. I do remember getting sick and
repulsed by a few smokers who stood about the firing area, however. A pulley
system to me is really unnecessary American ingenuity when a gloved person
on each side of the kiln can grasp the handles, and set the kiln down on a
nearby brick, concrete, or gravel ( or dirt) surface. The burner is
expensive, a few hundred bucks for a good venturi burner, and you'll need a
butane tank. You don't need to go to the trouble and expense of hooking up to
gas, and concerning the lining of a smokey joe with ceramic blanket...was
that a joke, or what? That thing would melt down in a big hurry!!! A smokey
joe is fine for sawdust firing (low temperatures) but1300 to 1850 is not low.
Forget raku in a smokey joe in a hurry, if you ask me, and as far as your
project goes to get started, ," just do it!" sherry Mc Donald Stewart/
SherMcdSte@AOL com

John Baymore on sun 26 may 96

RE: Seeing when raku glazes are ready to pull.

Adding onto Steve Branfman's thoughts............................

To help see if the glaze surface is ready to pull, insert a metal rod into the
chamber and hold it near the glaze surface on the side of a pot. The relatively
"cold" metal will provide a dark area that will reflect off of a glossy raku
glaze melt, and even allow you to see if the surface is still bubbling.

I use a discarded stainless steel "punty" used in glassblowing.

John Termeulen on tue 31 dec 96

I am looking for advice from the group regarding raku pottery. I have
been using white /clear crackle glaze over the last number of years but
have not been very successful to obtain the black in the crackle itself.
After the post fire reduction the unglazed parts are black, the glaze
itself is shiny, crackled but not black. Does somebody have an answer
to this problem? Is the glaze applied too thick? Use India ink over the
glaze? I do thank you in advance for the effort.

John Termeulen, Trenton, Ontario

Jack Phillips on thu 2 jan 97

>----------------------------Original message----------------------------
>I am looking for advice from the group regarding raku pottery. I have
>been using white /clear crackle glaze over the last number of years but
>have not been very successful to obtain the black in the crackle itself.

> John Termeulen, Trenton, Ontario
>
John,
There is so many factors that effect the "strength" or the darkness
of your crackle. Perhaps you should tell us what type of clay body you use,
what the composition of your glaze is, and your fireing procedure, including
your post fire reduction schedule. From that we may be able to suggest a
way to tweek your process. In general though, thick glazes with lots of
opacifiers can obscure the smoke in the cracks. Also, sometimes your glaze
crackles into such a tiny patern, you get what looks like gray. So help us
with more information.


Jack Phillips
STONART Ceramic art
Portland, Oregon

Web site:
http://www.worldstar.com/~stonart/welcome.html

Tadeusz Westawic on thu 2 jan 97

John Termeulen wrote:
>
> ----------------------------Original message----------------------------
> I am looking for advice from the group regarding raku pottery. I have
> been using white /clear crackle glaze over the last number of years but
> have not been very successful to obtain the black in the crackle itself.
> After the post fire reduction the unglazed parts are black, the glaze
> itself is shiny, crackled but not black. Does somebody have an answer
> to this problem? Is the glaze applied too thick? Use India ink over the
> glaze? I do thank you in advance for the effort.
>
> John Termeulen, Trenton, Ontario
John,

Sounds like your glaze may be reoxidizing after reduction. This happens
with some glaze formulations. Does there seem to be a "halo" of
reoxidized raw clay body at the boundary of your glaze? It might be hard
to see since you are using a white/clear glaze, but if you look closely
you should see it, sometimes on one part of the pot but not on another.
If there is a halo, then reoxidation is occurring. I would try another
glaze like the ones being suggested often in this forum, and poissibly
varying the type of organic waste you use for your post fire reduction
fuel.

Can you post the formula of the glaze that you are using now, the one
where the crackle is not dark? Reoxidation is a sometime interest of
mine and I'm curious.

Tadzu -- in sunny and mild SW New Mexico, where the new year has started
off right - my son got a job.

Bryan Hannis on fri 10 jan 97

help I'm still trying to find stable long lasting raku glazes, can
anyone offer me some help, I'm looking for crackle as well copper matte
and luster cone 06 glazes.

thanks Bryan

SBRANFPOTS@aol.com on sat 25 jan 97

----------------------------Original message----------------------------

I need to raku a 22" platter. Due to the high risk of cracking the platter, I
was wondering if instead of lifting the platter with tongs to the reduction
bin, couldn't I just leave the platter where it is and throw some leaves on
it to ignite, then just cover it with a metal/steel tub, and uncover it in 30
minutes??? Do you think I can do this successfully without ruining my raku
kiln (ceramic fiber) and fire bricks??
Thanks in advance for the help!!!

Mary Hays
jhaysbsmo@aol.com


Mary,
You could certainly do your post firing reduction in the kiln the way you
describe. The weak link though is how air tight you can make the reduction
chamber. Presumably you will be switching the fiber chamber for a metal
container. If the kiln has a loose brick base with a burner port, you will
have a difficult time making the post firing chamber air tight enough for
effective post firing reduction. Even covering the burner port, too much air
generally enters through the bricks. If you can cover the entire base with
the container then you will have a better chamber. In any case, it is
probably worth a try.

Steven Branfman

Margaret Arial on sun 26 jan 97

Penland used a large freezer that had a cement filled pail suspended on wire
roap thru a pully to its handle to raise and lower the lid would that
help?Remember ti get an old freezer with a means of locking it when not
actively using it as children are drawn to play and trap themselves in them
when unattended.

Lisa or Ginny on sun 26 jan 97

SBRANFPOTS@aol.com wrote:
> I need to raku a 22" platter. Due to the high risk of cracking the platter, I
the reduction bin, couldn't I just leave the platter where it is and
throw some leaves on it to ignite, then just cover it with a metal/steel
tub, and uncover it in 30 minutes???

I have raku'd a large platter, and fired it flat in the kiln. We used a
square nose shovel to get it out of the kiln, and had no problem.

--
Lisa Skeen
Living Tree Pottery
Greensboro, NC
Email: lpskeen@nr.infi.net

Dave and Pat Eitel on tue 28 jan 97

>----------------------------Original message----------------------------
>Penland used a large freezer that had a cement filled pail suspended on wire
>roap thru a pully to its handle to raise and lower the lid would that
>help?Remember ti get an old freezer with a means of locking it when not
>actively using it as children are drawn to play and trap themselves in them
>when unattended.

Margaret--Last time I was at Penland--about 4 years ago, they had stopped
using the freezer. When the lid was opened, the combustibles
inside--sawdust, mostly-- sometimes tended to explode rather violently.

Later...Dave

Dave Eitel
Cedar Creek Pottery
Cedarburg, WI
pots@cedarcreekpottery.com
http://www.cedarcreekpottery.com

Margaret Arial on wed 29 jan 97

Dave ,
Thanks for the warning as I have a freezer I'm getting ready ti use in the
same manner. I never experienced the exploding you refer to , so I was
unaware of that occurring , can you explain why that was happening and is
ther any way to avoid that other than using the freezer? Has anyone had that
problem with any other techniques.
Margaret

Erin Hayes on thu 30 jan 97

The explosion referrd to in the freezer reduction chamber is like a
backdraft. The smouldering material gets a rush of oxygen and reignites all
at once. You can lessen the chances of it by not using sawdust. Use
shavings instead.

Also, using a bed of sand for reduction keeps the smoke down. Put a sheet of
paper on the sand, place the piece on it, cover it with a metal trash can
(even a small one) with a single sheet of paper lining it. Push the can into
the sand to make a seal and weight the can with a small hardbrick. Almost no
smoke is leaked out and the reduction is very good. You use little
combustible material and a small chamber, so backflashing is not a problem.

Midland School on wed 5 mar 97

My friend and I are beginning a senior project for our high school. We plan
to build a Raku kiln, test fire pieces etc. If anyone has recepies, or
hints on how to build a kiln, we would greatly appreciate your help. We are
embarking on what could become our life's career.

Thank You for your responses,
Please send them su: Elliot and Ben
at: midland@midland.sbceo.k12.ca.us

Monona Rossol on sat 8 mar 97

On Wed, 5 Mar 1997, Midland School wrote:

> ----------------------------Original
message---------------------------- > My friend and I are
beginning a senior project for our high school. We plan > to
build a Raku kiln, test fire pieces etc. If anyone has recepies,
or > hints on how to build a kiln, we would greatly appreciate
your help. We are > embarking on what could become our life's
career.
>
> Thank You for your responses,
> Please send them su: Elliot and Ben
> at: midland@midland.sbceo.k12.ca.us
>


Please don't build a fiber kiln. If you have any doubts about
the hazards, write to the manufacturers of the fiber and ask for
their booklets on how to use their products safely. While they
try to put the best face on the problem, they still recommend wet
assembly, respiratory protection, air sampling and many other
precautions that are beyond high school--or most potters for that
matter. And while their booklets only refer to a few cancers in
animal tests, I will send you on request a summary of the test
data by our EPA that is more comprehensive.


You can make wonderful kilns from light insulating refractory
brick. I used to do this with my classes. You can build kilns
of many different sizes. You need an area of ground that is
trowelled flat, build the kiln like a box, corbelling up to an
opening that can be closed by bricks laid long wise over a space
at the top. At the back of this space, leave an open area for
escape of gases. By adjusting this space you can control
oxidation, reduction, speed of heating, etc., during firing.


I used a straight venturi propane burner and 20 # pot with the
regulator set at about #12.


Explain to students that the emissions coming from the kiln and
from the reduction smoke (leaves, hay, etc.) are toxic. Take the
wind direction into account when you set up the work area around
the kiln so that people will not have to be downwind of either
the kiln emissions or the smoke from the reduction. Counsel
asthmatics or kids with severe allergies out of the project.


Looking into the glowing kiln should be done with eye wear that
is rated for infrared protection. If you are a potter and don't
already have such eye wear, here's an opportunity to correct the
problem. Welding goggles of shade 1.7 to 2.0 should do the
trick. Ordinary sun glasses wont do it.

Again, I am not worried about kids going blind from this project,
but if they see you do raku without eye protection they will
think that it is OK to look at glowing hot stuff this way. Its
not. This, after all, is a school: learning is the real finished
product.



Monona Rossol, industrial hygienist
Arts, Crafts and Theater Safety
181 Thompson St., #23
NYC 10012-2586 212/777-0062

http://www.caseweb.com/acts/

behrends on sun 9 mar 97

I have used an old electeric kiln that doesn't work any more. Just take off
all the wires and hardware that you don't need, unhinge the door so that you
can set it off to the side. Cut a 4 inch hole at the bottom side and one in
the lid. Add a propane torch and you are Rakuing!
Have fun, Reg where the snow is still over 2 feet
deep.>----------------------------Original message----------------------------
>
>
>
>On Wed, 5 Mar 1997, Midland School wrote:
>
>> ----------------------------Original
>message---------------------------- > My friend and I are
>beginning a senior project for our high school. We plan > to
>build a Raku kiln, test fire pieces etc. If anyone has recepies,
>or > hints on how to build a kiln, we would greatly appreciate
>your help. We are > embarking on what could become our life's
>career.
>>
>> Thank You for your responses,
>> Please send them su: Elliot and Ben
>> at: midland@midland.sbceo.k12.ca.us
>>
>
>
>Please don't build a fiber kiln. If you have any doubts about
>the hazards, write to the manufacturers of the fiber and ask for
>their booklets on how to use their products safely. While they
>try to put the best face on the problem, they still recommend wet
>assembly, respiratory protection, air sampling and many other
>precautions that are beyond high school--or most potters for that
>matter. And while their booklets only refer to a few cancers in
>animal tests, I will send you on request a summary of the test
>data by our EPA that is more comprehensive.
>
>
>You can make wonderful kilns from light insulating refractory
>brick. I used to do this with my classes. You can build kilns
>of many different sizes. You need an area of ground that is
>trowelled flat, build the kiln like a box, corbelling up to an
>opening that can be closed by bricks laid long wise over a space
>at the top. At the back of this space, leave an open area for
>escape of gases. By adjusting this space you can control
>oxidation, reduction, speed of heating, etc., during firing.
>
>
>I used a straight venturi propane burner and 20 # pot with the
>regulator set at about #12.
>
>
>Explain to students that the emissions coming from the kiln and
>from the reduction smoke (leaves, hay, etc.) are toxic. Take the
>wind direction into account when you set up the work area around
>the kiln so that people will not have to be downwind of either
>the kiln emissions or the smoke from the reduction. Counsel
>asthmatics or kids with severe allergies out of the project.
>
>
>Looking into the glowing kiln should be done with eye wear that
>is rated for infrared protection. If you are a potter and don't
>already have such eye wear, here's an opportunity to correct the
>problem. Welding goggles of shade 1.7 to 2.0 should do the
>trick. Ordinary sun glasses wont do it.
>
>Again, I am not worried about kids going blind from this project,
>but if they see you do raku without eye protection they will
>think that it is OK to look at glowing hot stuff this way. Its
>not. This, after all, is a school: learning is the real finished
>product.
>
>
>
>Monona Rossol, industrial hygienist
>Arts, Crafts and Theater Safety
>181 Thompson St., #23
>NYC 10012-2586 212/777-0062
>
>http://www.caseweb.com/acts/
>
>

Joyce Lee, Jim Lee on tue 8 apr 97

If you've asked for my clayart raku folder and I haven't sent it, please
make the request again. There were so many interested clayarters that I
think I deleted some posts. Also, I seem to be able to forward
individual files (posts), but not the whole folder in one posting. Does
anybody know a way around that? It would definitely be easier than
plodding through one file at a time. It is enlightening to review the
great info clayarters have posted, but not after the sixth time.
However, I am not complaining. I've been helped by clayarters'
generosity so many, many times in the past two years that I'm delighted
to discover I can actually give a small assist to newbies (which is
defined as newer than I...in clay experience. In actual years, nobody
is older than I 'cuz I'm older than dirt.)

Joyce
Not really bemoaning my years in the Mojave. Just exhausted from
keeping up at NCECA. I didn't get outside once. A novelty for this
desert rat. Can't wait to get my new wheel.

Inge Jung on thu 10 apr 97

Hi to all Clayarters,

I am new to clayart and I am just tickled pink about this group.
I can't believe how much sharing is going on here. It's great to
be a part of this.
This is my first message, and I have a question for all of you
out there.
I do a lot of RAKU, and I would like to find some product to seal
my fired pieces. I find the colers fade with time.
If anyone has any tips or ideas, it would be greatly appriciated.
Thanks a bunch
Inge

Paula Lichvar on mon 23 jun 97

Does anyone know where I can have raku pieces fired in the Central
New York region (Syracuse, Utica, Rochestor)?
Thanks
"Every day I get up and look through the Forbes list of the
richest people in America. If I'm not there, I go to work."
Source Unknown

Definition of Freedom "The right to swing your arms, ends
at the tip of my nose." Source Unknown
plichvar@mailbox.syr.edu
fax - 315-443-2569
address - Syracuse University
Physical Plant
285 Ainsley Drive
Syracuse, NY 13244

Nancy Rogers on fri 27 jun 97

Paula:
You may try contacting Mostly Clay, a lovely gallery in Pittsford ( a
bedroom community of Rochester). I think the owner could point you in the
right direction.
Nancy the Cracked Potter in Hershey, PA
GoneTwoPot@aol.com

Joyce Lee, Jim Lee on wed 17 sep 97

A potter friend and I just finished my first raku firing outside of a
class setting. Beautiful firing! We chose our worse pots (of which I
have many) thinking that the first firing would probably be just a
learning experience. Wrong. We used Steve Branfman's book, "Raku,"
and his glazes. The Rainbow was a real winner as was the copper
green/red (One pot is all copper.) and the white crackle which had
crackles from very small to very, very large in random patterns. The
black was nice, too, but the name has slipped my mind (older-than-dirt,
too, just like the rest of me). The black had some good-sized rose
colored spots that looked like watercolors. We fired in the regular
reduction gas kiln. No trouble. Just had to be extra careful of the
heat that came blasting out of the door, instead of dispersing as it
does with a cover that lifts off a traditional raku kiln. Actually, we
were very careful with big, fire-retardant gloves, long raku tongs ,
face-shields, protective clothing, hair tied back and worked
assembly-line fashion with assigned jobs rehearsed ahead of time. Thank
you, Steve Branfman.

Joyce
Smoky in the Mojave

VIP on mon 27 oct 97

I have recently built a Raku kiln for our college. It is made from a
steel drum and lined with fibre fax. I will be firing with propane and
a tiger torch. I have fired Raku kilns in the past but nothing like
this. So far it looks good. I was wondering if anyone might have some
wise words of wisdom from experience to pass on.
Many thanks
Susan
sbailey@telusplanet.net

MARCELLO BEROLATTI DE LA CUBA on fri 30 oct 98

----------
> De: MARCELLO BEROLATTI DE LA CUBA
> A: L-Soft list server at UKCC (1.8b)
> Asunto: RE: Output of your job "berolatti"
> Fecha: sabado 10 de octubre de 1998 5:16
>
> Hello everybody,
>
My name is Ani Berolatti, I live in Arequipa - Peru, and i'm working in
clay since 1991. I don't speak-or write english very well, but I can read
it easily .( I speak french ,and spanish -of course-, then you can write
in
spanish or french too) I have been looking for a list of ceramist long
time
ago , because I'm very interested in another people experiences .
I have been reading your letters two days (I'm new) and it is just what I
was looking for.
Now I am interested in Raku,(I just have read about it..... ), and I need
some usefull information
about clay formulation, kiln, glazes formulations...., nobody mades raku
here and it is so beautifull ! I will really apreciate your help.
My kiln is a Duncan's (a little one) , I can use it for raku???
>
> Hasta pronto, I'll be waiting.
> Ani Berolatti
> >

Gary Ferguson on sun 1 nov 98

A collection of recipes can be found at:

http://netnow.micron.net/~gafergus/rakuglaz.htm

Hope this helps,
Gary Ferguson


MARCELLO BEROLATTI DE LA CUBA wrote:

> ----------------------------Original message----------------------------
>
> ----------
> > De: MARCELLO BEROLATTI DE LA CUBA
> > A: L-Soft list server at UKCC (1.8b)
> > Asunto: RE: Output of your job "berolatti"
> > Fecha: sabado 10 de octubre de 1998 5:16
> >
> > Hello everybody,
> >
> My name is Ani Berolatti, I live in Arequipa - Peru, and i'm working in
> clay since 1991. I don't speak-or write english very well, but I can read
> it easily .( I speak french ,and spanish -of course-, then you can write
> in
> spanish or french too) I have been looking for a list of ceramist long
> time
> ago , because I'm very interested in another people experiences .
> I have been reading your letters two days (I'm new) and it is just what I
> was looking for.
> Now I am interested in Raku,(I just have read about it..... ), and I need
> some usefull information
> about clay formulation, kiln, glazes formulations...., nobody mades raku
> here and it is so beautifull ! I will really apreciate your help.
> My kiln is a Duncan's (a little one) , I can use it for raku???
> >
> > Hasta pronto, I'll be
> >
> > >

Torgeir L. Henriksen on thu 19 nov 98

Hello!
i have been using potclays 1149 porcelain body for raku.It works great for
me.I get nice crakels with a borax frit and tin oksyd. Does anybody else
have experience using porcelain for raku firing?

Torgeir leander Henriksen
Galleri Thomasgaarden
N-7460 Rxros
Norway
tlf:47-72412470 fax 47-72412945
e-mail:torghenr@online.no
home-page http://home.sol.no/~torghenr/

Dannon Rhudy on fri 20 nov 98

..... anybody else
>have experience using porcelain for raku firing?....

Torgeir leander Henriksen

I have often used porcelain to raku, along with numerous other
clay bodies. I've had no problem with it, and sometimes crackle
is improved and/or colors more intense. I don't use copper-based
glazes except for in-kiln reduction; have gotten some very nice
turquoise- to- red effects on porcelains.

Dannon Rhudy
potter@koyote.com

Dan Tully on fri 20 nov 98

My wife has been making Raku Boxes out of Domestic Porcelin for years. The
pieces are fired at approx. 1875 then reduced in metal trash cans. We lose
about
50 % if we try to fire them a second time.

Jeff Seefeldt on fri 4 jun 99

I've heard some people (don't remember when or where)
discuss glaze firing of Raku pieces in a conventional kiln
prior to Raku firing, with the idea being to get a good
consistant melt of the glaze. If anyone does this or has
tried it would you let me know??

Jeff.

Sitting here thinking I would have much rather thown a few
pieces tonight than gone out of town for work, but that's
what supports my habit!!!!

Karen Shapiro on sat 5 jun 99

Hi Jeff,

I do mostly raku-fired sculptures and frequently will fire at ^06 in an
electric kiln prior to the raku. What this does is insure that everything
will flux evenly -- sometimes I will have trouble with ^06 glazes not
maturing in the raku. It makes for a lot less stress about the results. I
will usually apply my raku glazes after the piece has been electric fired
since I don't have to worry about them fluxing.
Try it -- you won't hurt anything and might like the results.

Karen in Sonoma

Dale A. Neese on sat 5 jun 99

The only time I have heard of Raku pots being fired in a conventional kiln
before the Raku firing is to rebisque fire the pieces with a copper matt
glaze on it to prevent damaging the surface of the glaze prior to loading
them in the Raku kiln. I know this from a potter who does several pieces a
day and loads them into a hot kiln with tongs. As to any effect on the
glaze, I'm not sure about that.
Dale Tex

Sharon R Pemberton on sat 5 jun 99

I have often fired raku in with bisque for reasons of storage and
convenience. In my particular teaching situation, student work can be glazed
and easily stored until the syart of a new set of classes. I do not have to
worry about dust and chipped glaze. A side effect of that is, I have noticed,
previously fired glazes refire very evenly, no immature areas.

Pax,

Pug

Marvin Flowerman on sun 6 jun 99

Hi Karen:
Would you please clarify your comments about firing at 06 before rakuimg?
Are you applying your raku glazes and then firing in an electric kiln at 06
and then glazing again before placing the pieces in your raku kiln? Seems
unlikely; please clarify.

An interested rakuer.

Marvin Flowerman (marvpots@aol.com)

CINDI ANDERSON on sun 6 jun 99

There was an artist in Creative Pottery (a book) that did this. He
fired once in an electric kiln, took it out and brushed on more glaze
whereever it was needed, then refired and took it out while hot and put
into a garbage can with newspapers. Alas it was one of the books I
returned so I'm not sure the temperatures. But his stuff looked really
good.

cindi

Jeff Seefeldt wrote:
>
> ----------------------------Original message----------------------------
> I've heard some people (don't remember when or where)
> discuss glaze firing of Raku pieces in a conventional kiln
> prior to Raku firing, with the idea being to get a good
> consistant melt of the glaze. If anyone does this or has
> tried it would you let me know??
>
> Jeff.
>
> Sitting here thinking I would have much rather thown a few
> pieces tonight than gone out of town for work, but that's
> what supports my habit!!!!

Lori Pierce on mon 7 jun 99

Hi Karen, do I understand correctly that when you glaze you pots for the
raku firing they are still hot,after removal from the electric kiln?
Another clayarter wrote that her pots were so hot they were difficult to
hold. Thanks, Lori in New Port Richey Fl.
-----Original Message-----
From: Karen Shapiro
To: CLAYART@LSV.UKY.EDU
Date: Saturday, June 05, 1999 10:25 AM
Subject: Re: Raku


>----------------------------Original message----------------------------
>Hi Jeff,
>
>I do mostly raku-fired sculptures and frequently will fire at ^06 in an
>electric kiln prior to the raku. What this does is insure that everything
>will flux evenly -- sometimes I will have trouble with ^06 glazes not
>maturing in the raku. It makes for a lot less stress about the results. I
>will usually apply my raku glazes after the piece has been electric fired
>since I don't have to worry about them fluxing.
>Try it -- you won't hurt anything and might like the results.
>
>Karen in Sonoma
>

Barbara Lewis on mon 7 jun 99

It was Jim Connnell's work. The book is by Michelle Coakes. Barbara

At 03:17 PM 6/6/99 EDT, you wrote:
>----------------------------Original message----------------------------
>There was an artist in Creative Pottery (a book) that did this. He
>fired once in an electric kiln, took it out and brushed on more glaze
>whereever it was needed, then refired and took it out while hot and put
>into a garbage can with newspapers. Alas it was one of the books I
>returned so I'm not sure the temperatures. But his stuff looked really
>good.
>
>cindi
>
>Jeff Seefeldt wrote:
>>
>> ----------------------------Original message----------------------------
>> I've heard some people (don't remember when or where)
>> discuss glaze firing of Raku pieces in a conventional kiln
>> prior to Raku firing, with the idea being to get a good
>> consistant melt of the glaze. If anyone does this or has
>> tried it would you let me know??
>>
>> Jeff.
>>
>> Sitting here thinking I would have much rather thown a few
>> pieces tonight than gone out of town for work, but that's
>> what supports my habit!!!!
>
Wellspring Clayworks
5412 Well Spring Road
La Plata, MD 20646
blewis@crosslink.net

Karen Shapiro on tue 8 jun 99

Hi Marvin,

I do a lot of unerglazing and mixing of commercial and raku glazes on my
work. I do the ^06 firing for the commercial glazes and to fix underglaze
details, then apply my raku glazes for the raku firing. Since the commercial
glazes flux before the raku glazes, I don't get uneven results this way. I
also have a friend who will "prefire" with the raku glazes because she has to
transport the work here to raku. This is usually a clear crackle glaze she
uses in this way -- and the work comes out great.
Hope this clarifies -- if not, write me back.

Karen in Sonoma where the garden is getting going nicely.

Karen Shapiro on tue 8 jun 99

Hi Lori,

The raku firing is usually days after the electric firing. Sometimes I heat
the pieces in a low oven for a few minutes, sometimes it isn't even necessary
since I am not applying the raku glazes over already glazed parts, but on
underglazed bisque.

Karen

Charles on thu 27 apr 00

------------------
Hello ClayArters...


The Creative Oasis finally has it's Raku program up and running, the process=
was
long and tedious, the original kiln design came from Steve Mills in the UK, =
but
we took some Frankenstein-liberties with it and came up with something we =
call
The Raku Beast. For your entertainment and education we have =
photo-documented
the process of building the Beast and have even documented most of our =
initial
failed firings to our final successes.

Your comments and critiques are welcomed. The Raku photo's can be viewed at =
our
website, http://www.thecreativeoasis.com please feel free to browse our =
other
pages as well=21

-Charles

Ron & Nancy on mon 5 jun 00

Can any one tell me what's the difference between Japanese raku and
American raku?
Thanks Nancy Hamilton-Hughes
Clay is not a diversion, it's an obsession.

David Clark on tue 6 jun 00

Clay really is an obsession isn't it.
My simple understanding is that American Raku differs mostly in its
reduction or after firing. Shoji Hamada taught Bernard Leach to set aside
the cups and bowls to cool off. Voulkos, Soldner and others played with
reduction materials; sometime in the late 50's? and with certain glazes
either in reduction or oxidation you'll get contrasting colors. It's all
quite mad and fun. There are lots of books and videos. Pipenburg and his
wife are major players with Raku.
Good Luck
----- Original Message -----
From: Ron & Nancy
To:
Sent: Monday, June 05, 2000 7:00 PM
Subject: Raku


> Can any one tell me what's the difference between Japanese raku and
> American raku?
> Thanks Nancy Hamilton-Hughes
> Clay is not a diversion, it's an obsession.
>
>
____________________________________________________________________________
__
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
>

BobWicks@AOL.COM on tue 6 jun 00

Ron & Nancy:
The major difference between Japanese and American Raku is that in the US,
for the most part use a post reduction after the glaze has matured. Usually
this is done by putting the project in some combustible substance and close
the lid to eliminate any possibility of air reaching then pot.

Bob

joan & stanley fink on fri 4 aug 00

I am new to raku and would like to find a turquoise. How do I get one
that won't
become metallic in reduction.
Thanks in advance,
Joan.

Richard Jeffery on sat 5 aug 00

use what copper glaze you have and don't reduce it....

Sorry, that probably wasn't helpful. Don't cover the glaze with reduction
material - place the pot on top of the reduction material, maybe a
sprinkling or two over it like you were a fancy TV chef adding salt.
Experiment.

> >-----Original Message-----
> >From: Ceramic Arts Discussion List
> >[mailto:CLAYART@LSV.CERAMICS.ORG]On
> >Behalf Of joan & stanley fink
> >Sent: 04 August 2000 20:46
> >To: CLAYART@LSV.CERAMICS.ORG
> >Subject: Re: raku
> >
> >
> >I am new to raku and would like to find a turquoise. How do I get one
> >that won't
> >become metallic in reduction.
> >Thanks in advance,
> >Joan.
> >
> >_____________________________________________________________
> >_________________
> >Send postings to clayart@lsv.ceramics.org
> >
> >You may look at the archives for the list or change your subscription
> >settings from http://www.ceramics.org/clayart/
> >
> >Moderator of the list is Mel Jacobson who may be reached at
> >melpots@pclink.com.
> >

carolyn bronowski on wed 13 sep 00

How do you use a blow torch to clean up a piece of raku out of the
reduction can?
Thank you Carolyn

Richard Jeffery on thu 14 sep 00

er.. not sure what you mean by clean up? could you be more specific? i use
a torch to get copper matt effects - doesn't sound like that...

Richard
Bournemouth UK
www.TheEleventhHour.co.uk


-----Original Message-----
From: Ceramic Arts Discussion List [mailto:CLAYART@LSV.CERAMICS.ORG]On
Behalf Of carolyn bronowski
Sent: 13 September 2000 21:18
To: CLAYART@LSV.CERAMICS.ORG
Subject: Raku


How do you use a blow torch to clean up a piece of raku out of the
reduction can?
Thank you Carolyn

____________________________________________________________________________
__
Send postings to clayart@lsv.ceramics.org

You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/

Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.

Karen Sullivan on tue 26 sep 00

My sense/logic about raku is that it is fired typically to 06, and is
therefore still a porous clay body.
I would think that this quality would contribute to problems of food safety.

Sharon31 on wed 27 sep 00

In the process the glaze, even foodsafe become crackled, cannot be foodsafe!
You can use it once and dump it, but you do not mean it!
Ababi Sharon
sharon@shoval.org.il
http://www.milkywayceramics.com/cgallery/asharon.htm



----- Original Message -----
From: Karen Sullivan
To:
Sent: Tuesday, September 26, 2000 11:42
Subject: raku


> My sense/logic about raku is that it is fired typically to 06, and is
> therefore still a porous clay body.
> I would think that this quality would contribute to problems of food
safety.
>
>
____________________________________________________________________________
__
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.

vince pitelka on wed 27 sep 00

> In the process the glaze, even foodsafe become crackled, cannot be
foodsafe!
> You can use it once and dump it, but you do not mean it!

This is such a widely held misconception. It is perfectly OK to eat out of
raku pots or crazed high-fire pots, but I normally advise my students not to
store food in them. There was a good post on this yesterday, and I'm sorry
but I do not remember who wrote it. Has anyone every heard of a single
person getting food poisoning or any other stomach ailment specifically
related to eating out of raku pots? This is representative of the kind of
alarmist information which so often gets spread through the ceramics world.
Many of us grew up eating off of heavily crazed antique low-fire dishes
without ever experiencing any problems.

Now, the issue of copper-release (or other metals) from raku glazes is
another issue, and one which you must take seriously. Those metallic or
dark blue-green raku glazes, especially the semi-matt or matt ones, should
never ever come in contact with food.
Best wishes -
- Vince

Vince Pitelka
Home - vpitelka@dekalb.net
615/597-5376
Work - wpitelka@tntech.edu
615/597-6801 ext. 111, fax 615/597-6803
Appalachian Center for Crafts
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
http://www.craftcenter.tntech.edu/

Earl Brunner on thu 28 sep 00

For more of man's history than not, he has used primitive
fired, porous, unglazed earthenware pottery for food.
Vince's cautions about the glaze chemical release are
pertinent. Other than that though, any pot washed in an
automatic dishwasher is probably ok for food, germ wise.
Even hand washing would probably handle most circumstances.

vince pitelka wrote:
>
> > In the process the glaze, even foodsafe become crackled, cannot be
> foodsafe!
> > You can use it once and dump it, but you do not mean it!
>
> This is such a widely held misconception. It is perfectly OK to eat out of
> raku pots or crazed high-fire pots, but I normally advise my students not to
> store food in them. There was a good post on this yesterday, and I'm sorry
> but I do not remember who wrote it. Has anyone every heard of a single
> person getting food poisoning or any other stomach ailment specifically
> related to eating out of raku pots? This is representative of the kind of
> alarmist information which so often gets spread through the ceramics world.
> Many of us grew up eating off of heavily crazed antique low-fire dishes
> without ever experiencing any problems.
>
> Now, the issue of copper-release (or other metals) from raku glazes is
> another issue, and one which you must take seriously. Those metallic or
> dark blue-green raku glazes, especially the semi-matt or matt ones, should
> never ever come in contact with food.
> Best wishes -
> - Vince
>
> Vince Pitelka
> Home - vpitelka@dekalb.net
> 615/597-5376
> Work - wpitelka@tntech.edu
> 615/597-6801 ext. 111, fax 615/597-6803
> Appalachian Center for Crafts
> Tennessee Technological University
> 1560 Craft Center Drive, Smithville TN 37166
> http://www.craftcenter.tntech.edu/
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at melpots@pclink.com.

--
Earl Brunner
http://coyote.accessnv.com/bruec
mailto:bruec@anv.net

Sharon31 on thu 28 sep 00

I must confess to you, sometimes my English is being poor, and the results
are annoying letters.
Let me explain myself better:
Let us make a cup, (handbuliding for this story,) On the slab we will spread
on top and bottom wood chips, or rice , anything that will live lovely
decorated small holes. We will fire this piece to ^10 with the best most
foodsafe glaze!
Now we drink coffee, with cream!
Great!
What about tomorrow?
what about the tiny creatures in the tiny decorative textural holes?
Or in our case the crackles of the raku?

I did not write about the heavy copper glaze, this is a different story!
Ababi Sharon
sharon@shoval.org.il
http://www.milkywayceramics.com/cgallery/asharon.htm





----- Original Message -----

From: "vince pitelka"
To:
Sent: Thursday, September 28, 2000 02:49
Subject: Re: raku


> > In the process the glaze, even foodsafe become crackled, cannot be
> foodsafe!
> > You can use it once and dump it, but you do not mean it!
>
> This is such a widely held misconception. It is perfectly OK to eat out
of
> raku pots or crazed high-fire pots, but I normally advise my students not
to
> store food in them. There was a good post on this yesterday, and I'm
sorry
> but I do not remember who wrote it. Has anyone every heard of a single
> person getting food poisoning or any other stomach ailment specifically
> related to eating out of raku pots? This is representative of the kind of
> alarmist information which so often gets spread through the ceramics
world.
> Many of us grew up eating off of heavily crazed antique low-fire dishes
> without ever experiencing any problems.
>
> Now, the issue of copper-release (or other metals) from raku glazes is
> another issue, and one which you must take seriously. Those metallic or
> dark blue-green raku glazes, especially the semi-matt or matt ones, should
> never ever come in contact with food.
> Best wishes -
> - Vince
>
> Vince Pitelka
> Home - vpitelka@dekalb.net
> 615/597-5376
> Work - wpitelka@tntech.edu
> 615/597-6801 ext. 111, fax 615/597-6803
> Appalachian Center for Crafts
> Tennessee Technological University
> 1560 Craft Center Drive, Smithville TN 37166
> http://www.craftcenter.tntech.edu/
>
>
____________________________________________________________________________
__
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.

Pat/Kent on wed 2 jan 02

Mike:

I think that if you try using a high fire brick and mount your secondary
shelves on that brick should resolve your problem. I am assuming that your
"posts" are the regular kiln furniture. If that is the case, were they old
ones? Were they ever used in salt fireings? If so they may have been
damaged in that process. I've never seen one of those crack or crumble.
That's all the help I can give.

Pat Porter
Windy Pines Ceramics
Aurora CO USA
pporter@4dv.net

islandplace3 on wed 2 jan 02

Recently started experimenting with raku and have run into a problem.
I placed three posts and shelf into a two burner updraft and left
them there through multiple firings. I needed to exchange posts for
larger piece and when I lifted the shelf, two of the posts collapsed,
having cracked in three places; third post also cracked. I thought I
had placed these posts, x shaped, far enough from burner ports but
could be receiving flashback from under side of shelf. Any
suggestions? Mike

artimater on wed 27 mar 02

Richard wrote:
needs a quick practice cold to make sure balance is OK, that you can
actually get the thing out and into its reduction chamber without too =
much
additional cussin'

Not to mention catching on fireHEHEHE....I've pulled a couple big things =
out using lots of wet newspaper over the usual garb....That stuff is =
hot!


Rush
"I only indulge when I've seen a snake, so I keep a supply of =
indulgences and snakes handy"
http://artimator.com
rush@artimator.com
http://clubs.yahoo.com/clubs/texasceramics

Artimator Galleries
2420 Briarwood Ln.
Carrollton, TX 75006
972-841-1857

Richard Jeffery on thu 28 mar 02

like I say, without additional cussin'.....

I'm a strong believer in the most useful piece of equipment for raku is the
bottle of merlot, if only to put your knees out....





Richard Jeffery

Web Design and Photography
www.theeleventhweb.co.uk
Bournemouth UK



-----Original Message-----
From: Ceramic Arts Discussion List [mailto:CLAYART@LSV.CERAMICS.ORG]On
Behalf Of artimater
Sent: 28 March 2002 03:33
To: CLAYART@LSV.CERAMICS.ORG
Subject: Raku


Richard wrote:
needs a quick practice cold to make sure balance is OK, that you can
actually get the thing out and into its reduction chamber without too much
additional cussin'

Not to mention catching on fireHEHEHE....I've pulled a couple big things out
using lots of wet newspaper over the usual garb....That stuff is hot!


Rush
"I only indulge when I've seen a snake, so I keep a supply of indulgences
and snakes handy"
http://artimator.com
rush@artimator.com
http://clubs.yahoo.com/clubs/texasceramics

Artimator Galleries
2420 Briarwood Ln.
Carrollton, TX 75006
972-841-1857

____________________________________________________________________________
__
Send postings to clayart@lsv.ceramics.org

You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/

Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.

artimater on thu 28 mar 02

Yeah definitely Merlot; Crown is too expensive for putting out your =
knees and doesn't work well anyway....although it's better than aloe =
vera for minor burns....doncha know?
Rush
"I only indulge when I've seen a snake, so I keep a supply of =
indulgences and snakes handy"
http://artimator.com
rush@artimator.com
http://clubs.yahoo.com/clubs/texasceramics

Artimator Galleries
2420 Briarwood Ln.
Carrollton, TX 75006
972-841-1857

Richard Jeffery on thu 28 mar 02

you got no idea -

use lavender oil for the knees if they burn bad - it's too expensive to
drink, even in the litre bottle.......

by the way, Crown is a gloss paint over here, so i was doubly confused for a
moment....






Richard Jeffery

Web Design and Photography
www.theeleventhweb.co.uk
Bournemouth UK



-----Original Message-----
From: Ceramic Arts Discussion List [mailto:CLAYART@LSV.CERAMICS.ORG]On
Behalf Of artimater
Sent: 28 March 2002 13:53
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: raku


Yeah definitely Merlot; Crown is too expensive for putting out your knees
and doesn't work well anyway....although it's better than aloe vera for
minor burns....doncha know?
Rush
"I only indulge when I've seen a snake, so I keep a supply of indulgences
and snakes handy"
http://artimator.com
rush@artimator.com
http://clubs.yahoo.com/clubs/texasceramics

Artimator Galleries
2420 Briarwood Ln.
Carrollton, TX 75006
972-841-1857

____________________________________________________________________________
__
Send postings to clayart@lsv.ceramics.org

You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/

Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.

Judith I. Marvin on thu 23 may 02

Somewhere deep in the recesses of my minds eye I remember seing a picture of
a raku piece (I believe by Paul Soldner) with handsprints with a lighter
halo around them. I've flipped through a gazillion old CM's and cant find.
Can anyone out there tell me how this surface decoration is done? Just
picked up the expanded metal shell for my raku kiln. Boy, is that hummer
heavy. Guess the welding guy's idea of "something I can handle" and mine
are a bit off. Will drive 3+ hours tomorrow to Spokane to pick up the
Kaowooln and high temp wire. Can hardly wait. The Bozo buttons are ready to
be fired. Is bisque o.k. or should I take them to ^6?

_________________________________________________________________
Chat with friends online, try MSN Messenger: http://messenger.msn.com

Ababi on fri 24 may 02

Hello Judith
In my limited understanding of the slang you use.
I understood your raku question. If I remember correctly, In Steven
Branfman's new Raku book there is the answer.( I have it in the studio,
I cannot check it now.
Ababi Sharon
Kibbutz Shoval- Israel
Glaze addict
ababisha@shoval.org.il
http://members4.clubphoto.com/ababi306910/
http://www.milkywayceramics.com/cgallery/asharon.htm




---------- Original Message ----------

>Somewhere deep in the recesses of my minds eye I remember seing a
>picture of
>a raku piece (I believe by Paul Soldner) with handsprints with a lighter
>halo around them. I've flipped through a gazillion old CM's and cant
>find.
>Can anyone out there tell me how this surface decoration is done? Just
>picked up the expanded metal shell for my raku kiln. Boy, is that
>hummer
>heavy. Guess the welding guy's idea of "something I can handle" and
>mine
>are a bit off. Will drive 3+ hours tomorrow to Spokane to pick up the
>Kaowooln and high temp wire. Can hardly wait. The Bozo buttons are
>ready to
>be fired. Is bisque o.k. or should I take them to ^6?

>_________________________________________________________________
>Chat with friends online, try MSN Messenger: http://messenger.msn.com

>________________________________________________________________________
>______
>Send postings to clayart@lsv.ceramics.org

>You may look at the archives for the list or change your subscription
>settings from http://www.ceramics.org/clayart/

>Moderator of the list is Mel Jacobson who may be reached at
>melpots@pclink.com.

seven oaks grove on thu 30 may 02

I am new to this service. I am currently involved with the Raku technique.
Is anyone else doing work in this field of pottery.

Ababi on fri 31 may 02

Yes many of us please enter to
http://www.potters.org/category057.htm

Read more and much more.
Ababi Sharon
Kibbutz Shoval- Israel
Glaze addict
ababisha@shoval.org.il
http://members4.clubphoto.com/ababi306910/
http://www.milkywayceramics.com/cgallery/asharon.htm




---------- Original Message ----------

>I am new to this service. I am currently involved with the Raku
>technique.
>Is anyone else doing work in this field of pottery.

>________________________________________________________________________
>______
>Send postings to clayart@lsv.ceramics.org

>You may look at the archives for the list or change your subscription
>settings from http://www.ceramics.org/clayart/

>Moderator of the list is Mel Jacobson who may be reached at
>melpots@pclink.com.

Richard Jeffery on fri 31 may 02

oh yes.......


is that seven oaks as in sevenoaks?







Richard Jeffery

Web Design and Photography
www.theeleventhweb.co.uk
Bournemouth UK



-----Original Message-----
From: Ceramic Arts Discussion List [mailto:CLAYART@LSV.CERAMICS.ORG]On
Behalf Of seven oaks grove
Sent: 30 May 2002 20:42
To: CLAYART@LSV.CERAMICS.ORG
Subject: raku


I am new to this service. I am currently involved with the Raku technique.
Is anyone else doing work in this field of pottery.

____________________________________________________________________________
__
Send postings to clayart@lsv.ceramics.org

You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/

Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.

Dupre Mr Marcy M on fri 31 may 02

I am new to this service. I am currently involved with the Raku technique.
Is anyone else doing work in this field of pottery.


Seven Oaks Grove,

When you write "Raku technique," what are you doing? The firing, the glaze,
the kiln, the clay, the Zen, the philosophy, the study of the Raku family,
American raku (invented by Paul Soldner and others), Japanese raku, Chinese
raku-style, or all of the above? :o)

The "raku technique" is really somewhat of a misnomer. More correct, I
suppose, is "low-fire, post-fire smoking." This is somewhat of a throw-off
of the pit-fired ware, coupled with a Minimalist, disposable-ware attitude,
fomented by the tea masters. Raku is raku--happiness, joy.

I also think just about every student potter in the world has at least tried
raku at one point. The main attraction for me is the dynamic, theatrical
aspect of the art, craft, science, and magic of raku--American style. It is
as near to instant gratification as one can get. Ask any poter who does
raku and you'll get a different answer for every person you ask.

For me, raku is the after-dinner mint of pottery. The main courses are the
stoneware, the terra cotta, the glaze and clay body design, the kiln work,
with the piece de resistance being the Holy Grail of Pottery--porcelain with
celadon or copper red glazes. I love to work in all aspects our craft, but
I do raku for the sheer joy of it. I can make many pieces in a single
afternoon, dry and bisque them in a day, and invite the neighbors to a
"Ku-do" the next weekend.

I am very serious about my work, but raku is the spice I use for a
change-up.

What do you want to know? I might be able to help. A little. Maybe.

Tig
Willow Rose Studio
Springfield, VA

Ababi on fri 31 may 02

Hello Tig and my community!
It looks like you caught the in a word.
For her/him it is technic for you almost a religion for me a tool of
virtuosity ( though I am not a great master)
I think RAKU says all!
Any normal or almost normal or considered as such that works in raku,
with the possible dangers is a Rakuer does not matter how he/she calls
it.
For some people RAKU might remind the Japanese tea ceremony, while to
the other his great love to old copper mines he has visited as a child
near the mountains of Eilat.

Each of us has his tradition, his memories. I can make (theoretically)
the most beautiful tea pot while I drink only Coca Cola.
Dear Tig
Technic or not! If you are brave enough to do it you are a RAKUER

Pretty bad picture but can get my point
http://www.eilatimages.com/html/nearby/pages/1046.htm
http://www.eilatimages.com/html/nearby/pages/1035.htm
http://www.eilatimages.com/html/nearby/pages/1037.htm
Ababi

---------- Original Message ----------

>
>I am new to this service. I am currently involved with the Raku
>technique.
>Is anyone else doing work in this field of pottery.
>

>Seven Oaks Grove,

>When you write "Raku technique," what are you doing? The firing, the
>glaze,
>the kiln, the clay, the Zen, the philosophy, the study of the Raku
>family,
>American raku (invented by Paul Soldner and others), Japanese raku,
>Chinese
>raku-style, or all of the above? :o)

>The "raku technique" is really somewhat of a misnomer. More correct, I
>suppose, is "low-fire, post-fire smoking." This is somewhat of a
>throw-off
>of the pit-fired ware, coupled with a Minimalist, disposable-ware
>attitude,
>fomented by the tea masters. Raku is raku--happiness, joy.

>I also think just about every student potter in the world has at least
>tried
>raku at one point. The main attraction for me is the dynamic,
>theatrical
>aspect of the art, craft, science, and magic of raku--American style.
>It is
>as near to instant gratification as one can get. Ask any poter who does
>raku and you'll get a different answer for every person you ask.

>For me, raku is the after-dinner mint of pottery. The main courses are
>the
>stoneware, the terra cotta, the glaze and clay body design, the kiln
>work,
>with the piece de resistance being the Holy Grail of Pottery--porcelain
>with
>celadon or copper red glazes. I love to work in all aspects our craft,
>but
>I do raku for the sheer joy of it. I can make many pieces in a single
>afternoon, dry and bisque them in a day, and invite the neighbors to a
>"Ku-do" the next weekend.

>I am very serious about my work, but raku is the spice I use for a
>change-up.

>What do you want to know? I might be able to help. A little. Maybe.

>Tig
>Willow Rose Studio
>Springfield, VA

>________________________________________________________________________
>______
>Send postings to clayart@lsv.ceramics.org

>You may look at the archives for the list or change your subscription
>settings from http://www.ceramics.org/clayart/

>Moderator of the list is Mel Jacobson who may be reached at
>melpots@pclink.com.

Irene Poulton on sun 2 jun 02

Hi

I am new to the list so hope this is the correct way of going about
answering a question.
Someone asked about Raku. well I have been working exclusively in Raku since
1986
and am quite happy to share my knowledge. Have a look at my web site
http://members.iinet.net.au/~shaper
and you will also find a lot of other links to Raku sites. Best of luck

Irene Poulton

Ababi on sun 2 jun 02

Hello Irene
I am very glad that you have joined this list. It is defiantly the
right list for you!
Ababi Sharon
Kibbutz Shoval- Israel
Glaze addict
ababisha@shoval.org.il
http://members4.clubphoto.com/ababi306910/
http://www.milkywayceramics.com/cgallery/asharon.htm




---------- Original Message ----------

>Hi

>I am new to the list so hope this is the correct way of going about
>answering a question.
>Someone asked about Raku. well I have been working exclusively in Raku
>since 1986
>and am quite happy to share my knowledge. Have a look at my web site
>http://members.iinet.net.au/~shaper
>and you will also find a lot of other links to Raku sites. Best of luck

>Irene Poulton

>________________________________________________________________________
>______
>Send postings to clayart@lsv.ceramics.org

>You may look at the archives for the list or change your subscription
>settings from http://www.ceramics.org/clayart/

>Moderator of the list is Mel Jacobson who may be reached at
>melpots@pclink.com.

Michele Williams on sun 2 jun 02

Irene,

I love your work! (Have no kiln, must be content to drool for now) I've
looked a several of the sites you have linked to yours, and they are
wonderful, too. Thanks for joining ClayArt. I'm a newbie, so I'll be
learning from you, too. I think my Paradise will have to be full of
teachers......

Michele Williams

corey on sun 2 jun 02

I call "Raku" the raku technique, because I respect that the name Raku is a
title given to the "family" line of potters in Japan where the term was
first coined. This is just my way of showing this respect. I also
acknowledge that most of the Raku produced today here in the US, as well as
other parts of the world is linked to Raku in only the most basic ways.
That being said, I am not the type of person that is all stuck on following
tradition for traditions sake. The innovations that have taken place in the
raku technique over the last 40-50 years are outstanding! I love raku
because of the joy I and others receive from working this close with the
clay from start to finish. I live in eastern Washington state, and I have
gone on wilderness hikes and brought back raw clay from the field and made
and fired pots from this, although not commercially viable I received great
joy from being so close to my art/craft. In reality, I enjoy the entire
process of this technique. I am looking for anything new (to me or the
community of crafters) that has to do with this craft. I am just returning
to the craft of pottery after be idle in it since I finished college in the
mid 1980's. *side note, my name is Corey Schmidt, my business name is Seven
Oaks Grove. When I entered this board I must have entered the information
wrong, I did not intend for my business name to appear listed.

-----Original Message-----
From: Ceramic Arts Discussion List [mailto:CLAYART@LSV.CERAMICS.ORG]On
Behalf Of Dupre Mr Marcy M
Sent: Friday, May 31, 2002 5:22 AM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Raku



I am new to this service. I am currently involved with the Raku technique.
Is anyone else doing work in this field of pottery.


Seven Oaks Grove,

When you write "Raku technique," what are you doing? The firing, the glaze,
the kiln, the clay, the Zen, the philosophy, the study of the Raku family,
American raku (invented by Paul Soldner and others), Japanese raku, Chinese
raku-style, or all of the above? :o)

The "raku technique" is really somewhat of a misnomer. More correct, I
suppose, is "low-fire, post-fire smoking." This is somewhat of a throw-off
of the pit-fired ware, coupled with a Minimalist, disposable-ware attitude,
fomented by the tea masters. Raku is raku--happiness, joy.

I also think just about every student potter in the world has at least tried
raku at one point. The main attraction for me is the dynamic, theatrical
aspect of the art, craft, science, and magic of raku--American style. It is
as near to instant gratification as one can get. Ask any poter who does
raku and you'll get a different answer for every person you ask.

For me, raku is the after-dinner mint of pottery. The main courses are the
stoneware, the terra cotta, the glaze and clay body design, the kiln work,
with the piece de resistance being the Holy Grail of Pottery--porcelain with
celadon or copper red glazes. I love to work in all aspects our craft, but
I do raku for the sheer joy of it. I can make many pieces in a single
afternoon, dry and bisque them in a day, and invite the neighbors to a
"Ku-do" the next weekend.

I am very serious about my work, but raku is the spice I use for a
change-up.

What do you want to know? I might be able to help. A little. Maybe.

Tig
Willow Rose Studio
Springfield, VA

____________________________________________________________________________
__
Send postings to clayart@lsv.ceramics.org

You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/

Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.

Richard Jeffery on mon 3 jun 02

and we're pleased to have you...

there are a lot of folk on this list doing some variation around raku.

if my (seven oaks as in sevenoaks?) comment was a bit cryptic, i was
wondering if you were in UK.....

cheers

Richard







Richard Jeffery

Web Design and Photography
www.theeleventhweb.co.uk
Bournemouth UK



-----Original Message-----
From: Ceramic Arts Discussion List [mailto:CLAYART@LSV.CERAMICS.ORG]On
Behalf Of corey
Sent: 03 June 2002 00:21
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: Raku


I call "Raku" the raku technique, because I respect that the name Raku is a
title given to the "family" line of potters in Japan where the term was
first coined. This is just my way of showing this respect. I also
acknowledge that most of the Raku produced today here in the US, as well as
other parts of the world is linked to Raku in only the most basic ways.
That being said, I am not the type of person that is all stuck on following
tradition for traditions sake. The innovations that have taken place in the
raku technique over the last 40-50 years are outstanding! I love raku
because of the joy I and others receive from working this close with the
clay from start to finish. I live in eastern Washington state, and I have
gone on wilderness hikes and brought back raw clay from the field and made
and fired pots from this, although not commercially viable I received great
joy from being so close to my art/craft. In reality, I enjoy the entire
process of this technique. I am looking for anything new (to me or the
community of crafters) that has to do with this craft. I am just returning
to the craft of pottery after be idle in it since I finished college in the
mid 1980's. *side note, my name is Corey Schmidt, my business name is Seven
Oaks Grove. When I entered this board I must have entered the information
wrong, I did not intend for my business name to appear listed.

-----Original Message-----
From: Ceramic Arts Discussion List [mailto:CLAYART@LSV.CERAMICS.ORG]On
Behalf Of Dupre Mr Marcy M
Sent: Friday, May 31, 2002 5:22 AM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Raku



I am new to this service. I am currently involved with the Raku technique.
Is anyone else doing work in this field of pottery.


Seven Oaks Grove,

When you write "Raku technique," what are you doing? The firing, the glaze,
the kiln, the clay, the Zen, the philosophy, the study of the Raku family,
American raku (invented by Paul Soldner and others), Japanese raku, Chinese
raku-style, or all of the above? :o)

The "raku technique" is really somewhat of a misnomer. More correct, I
suppose, is "low-fire, post-fire smoking." This is somewhat of a throw-off
of the pit-fired ware, coupled with a Minimalist, disposable-ware attitude,
fomented by the tea masters. Raku is raku--happiness, joy.

I also think just about every student potter in the world has at least tried
raku at one point. The main attraction for me is the dynamic, theatrical
aspect of the art, craft, science, and magic of raku--American style. It is
as near to instant gratification as one can get. Ask any poter who does
raku and you'll get a different answer for every person you ask.

For me, raku is the after-dinner mint of pottery. The main courses are the
stoneware, the terra cotta, the glaze and clay body design, the kiln work,
with the piece de resistance being the Holy Grail of Pottery--porcelain with
celadon or copper red glazes. I love to work in all aspects our craft, but
I do raku for the sheer joy of it. I can make many pieces in a single
afternoon, dry and bisque them in a day, and invite the neighbors to a
"Ku-do" the next weekend.

I am very serious about my work, but raku is the spice I use for a
change-up.

What do you want to know? I might be able to help. A little. Maybe.

Tig
Willow Rose Studio
Springfield, VA

____________________________________________________________________________
__
Send postings to clayart@lsv.ceramics.org

You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/

Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.

____________________________________________________________________________
__
Send postings to clayart@lsv.ceramics.org

You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/

Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.

Barbara Mueller on mon 12 aug 02

Getting ready for clay week here in Idaho. A friend is coming to stay
at the lake and help me become more fluid in my work. One of the things
we are going to do is build a raku kiln and do some raku firings. I am
curious whether you can create a vessel, bisque it and then pour clear
glaze on the inside of it and fire to cone 5 and then be able to raku
it? Would it create a water tight vessel? Would it even work?



Has anyone had any experience with this idea?

B.

Marcia Selsor on mon 12 aug 02

Hi Barbara,
I just finished my raku in the Rockies workshop in Red Lodge Montana. I had a
person from Seeley lake, Mt. which is closer to you.You can't Raku fire something
that has vitrified in the raku process because it won't take the thermal shock.
Most glazes will craze from the shock of raku also..the reason for those crackle
glazes. Annie's Mud Shop selld water guardian which makes pieces water proof, but
I wouldn't use it for pieces to hold liquids for human consumption. You could try
firing a clear low temp. ^06 glaze in a piece but I would fire anything for Raku
any hotter than that.
Marcia in Montana
heading for residency at the Bray in 4 days!!!!!

Barbara Mueller wrote:

> Getting ready for clay week here in Idaho. A friend is coming to stay
> at the lake and help me become more fluid in my work. One of the things
> we are going to do is build a raku kiln and do some raku firings. I am
> curious whether you can create a vessel, bisque it and then pour clear
> glaze on the inside of it and fire to cone 5 and then be able to raku
> it? Would it create a water tight vessel? Would it even work?
>
> Has anyone had any experience with this idea?
>
> B.
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at melpots@pclink.com.

Gary Ferguson on mon 12 aug 02

Typically a Raku firing is around cone 05 and the clay, in order to survive,
typically has to remain open (unvitrified) is a cone 5 or 10 clay. If you
fire cone 5 clay to cone 5 with a cone 5 glaze it will hold water but may
not survive the Raku firing, depending on the speed of firing, method of
reduction etc.

If you use a cone 10 clay, fire to cone 5 using a cone glaze, you would
probably survive the Raku firing, but I'm sure there would be a debate as to
whether it would hold water. Probably not.

Another method would be to Raku as normal and then coat the inside with a
sealer of some sort. Many have been discussed - Thompson's, liquid latex,
Axner Oil Lamp sealer, etc.
Gary Ferguson
Clay Artist
Nampa, ID 83687
www.garyrferguson.com

----- Original Message -----
From: "Barbara Mueller"
To:
Sent: Monday, August 12, 2002 10:03 AM
Subject: Raku


> Getting ready for clay week here in Idaho. A friend is coming to stay
> at the lake and help me become more fluid in my work. One of the things
> we are going to do is build a raku kiln and do some raku firings. I am
> curious whether you can create a vessel, bisque it and then pour clear
> glaze on the inside of it and fire to cone 5 and then be able to raku
> it? Would it create a water tight vessel? Would it even work?
>
>
>
> Has anyone had any experience with this idea?
>
> B.
>
>

Barbara Mueller on tue 13 aug 02

A plastic Bag, now you would of thought that I would have thought of
that as I have done that on my roof garden deep planters. Oh well need
a better mental filing system.

Thanks

-----Original Message-----
From: Ceramic Arts Discussion List [mailto:CLAYART@LSV.CERAMICS.ORG] On
Behalf Of Craig Clark
Sent: Tuesday, August 13, 2002 6:29 AM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: Raku

Barbara, chances are that the vitrified high fired clay would not
take
the thermal shock of the raku process.
As far as water tight goes in raku there are products that will make
the
clay bodies water tight for decorative purposes. Keep in mind that it is
ill
advised at best to ever use raku for any utilitarian purpose involving
food,
food stuffs, beverage and/or the consumption therof.
If the piece is to be used for something that just requires a bit of
water, such as a planter type application, there have been a number of
suggestions given about this in the past. One that is quick and easy is
to
line the inside of the pot with a plastic bag which no one will see.
Craig Dunn Clark
619 East 11 1/2 st
Houston, Texas 77008
(713)861-2083
mudman@hal-pc.org

Craig Dunn Clark
619 East 11 1/2 st
Houston, Texas 77008
mudman@hal-pc.org

----- Original Message -----
From: "Barbara Mueller"
To:
Sent: Monday, August 12, 2002 11:03 AM
Subject: Raku


> Getting ready for clay week here in Idaho. A friend is coming to stay
> at the lake and help me become more fluid in my work. One of the
things
> we are going to do is build a raku kiln and do some raku firings. I
am
> curious whether you can create a vessel, bisque it and then pour clear
> glaze on the inside of it and fire to cone 5 and then be able to raku
> it? Would it create a water tight vessel? Would it even work?
>
>
>
> Has anyone had any experience with this idea?
>
> B.
>
>
________________________________________________________________________
____
__
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.

________________________________________________________________________
______
Send postings to clayart@lsv.ceramics.org

You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/

Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.

Barbara Mueller on tue 13 aug 02

Thanks for the response on my over-baked idea. This information is
great. I'm prepared to have anything happen around the raku firing
though its great to have some insight and other ideas for making a
vessel water proof.

What about leaving raku outside in the garden during the summer?

Experimentation yields experience.

B

-----Original Message-----
From: Ceramic Arts Discussion List [mailto:CLAYART@LSV.CERAMICS.ORG] On
Behalf Of Gary Ferguson
Sent: Monday, August 12, 2002 4:24 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: Raku

Typically a Raku firing is around cone 05 and the clay, in order to
survive,
typically has to remain open (unvitrified) is a cone 5 or 10 clay. If
you
fire cone 5 clay to cone 5 with a cone 5 glaze it will hold water but
may
not survive the Raku firing, depending on the speed of firing, method of
reduction etc.

If you use a cone 10 clay, fire to cone 5 using a cone glaze, you would
probably survive the Raku firing, but I'm sure there would be a debate
as to
whether it would hold water. Probably not.

Another method would be to Raku as normal and then coat the inside with
a
sealer of some sort. Many have been discussed - Thompson's, liquid
latex,
Axner Oil Lamp sealer, etc.
Gary Ferguson
Clay Artist
Nampa, ID 83687
www.garyrferguson.com

----- Original Message -----
From: "Barbara Mueller"
To:
Sent: Monday, August 12, 2002 10:03 AM
Subject: Raku


> Getting ready for clay week here in Idaho. A friend is coming to stay
> at the lake and help me become more fluid in my work. One of the
things
> we are going to do is build a raku kiln and do some raku firings. I
am
> curious whether you can create a vessel, bisque it and then pour clear
> glaze on the inside of it and fire to cone 5 and then be able to raku
> it? Would it create a water tight vessel? Would it even work?
>
>
>
> Has anyone had any experience with this idea?
>
> B.
>
>

________________________________________________________________________
______
Send postings to clayart@lsv.ceramics.org

You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/

Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.

Craig Clark on tue 13 aug 02

Barbara, chances are that the vitrified high fired clay would not take
the thermal shock of the raku process.
As far as water tight goes in raku there are products that will make the
clay bodies water tight for decorative purposes. Keep in mind that it is ill
advised at best to ever use raku for any utilitarian purpose involving food,
food stuffs, beverage and/or the consumption therof.
If the piece is to be used for something that just requires a bit of
water, such as a planter type application, there have been a number of
suggestions given about this in the past. One that is quick and easy is to
line the inside of the pot with a plastic bag which no one will see.
Craig Dunn Clark
619 East 11 1/2 st
Houston, Texas 77008
(713)861-2083
mudman@hal-pc.org

Craig Dunn Clark
619 East 11 1/2 st
Houston, Texas 77008
mudman@hal-pc.org

----- Original Message -----
From: "Barbara Mueller"
To:
Sent: Monday, August 12, 2002 11:03 AM
Subject: Raku


> Getting ready for clay week here in Idaho. A friend is coming to stay
> at the lake and help me become more fluid in my work. One of the things
> we are going to do is build a raku kiln and do some raku firings. I am
> curious whether you can create a vessel, bisque it and then pour clear
> glaze on the inside of it and fire to cone 5 and then be able to raku
> it? Would it create a water tight vessel? Would it even work?
>
>
>
> Has anyone had any experience with this idea?
>
> B.
>
>
____________________________________________________________________________
__
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.

Tony Ferguson on tue 14 jan 03

Mike,

Make sure you clean the back of the tile with a little dawn or other dish
detergent. Your problem sounds like a bonding issue and the carbon could be
in the way.

i
----- Original Message -----
From: "Mike Leiner"
To:
Sent: Tuesday, January 14, 2003 6:49 AM
Subject: raku


> I've sold some flat tile type pieces in raku that I epoxied strips of wood
> on the back to run wires through for hanging. My paranoid mind is now
> wondering if the carbon buildup on the bare clay is acting as a barrior
> between the clay and epoxy and pieces are suddenly falling somewhere. I'm
> hoping Vince or Snail or someone can calm my fears.
> Mike
>
>
____________________________________________________________________________
__
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
>

Snail Scott on tue 14 jan 03

At 09:49 AM 1/14/03 -0500, you wrote:
>I've sold some flat tile type pieces in raku that I epoxied strips of wood
>on the back to run wires through for hanging. My paranoid mind is now
>wondering if the carbon buildup on the bare clay is acting as a barrior
>between the clay and epoxy and pieces are suddenly falling somewhere. I'm
>hoping Vince or Snail or someone can calm my fears.


Probably not. The carbon isn't really a surface
layer, but has penetrated into the clay. The
biggest problem with epoxy on raku is that the
clay is so much weaker than the epoxy. If the
epoxied attachments break off, it will be the
clay that breaks, pulling off a thin layer of
clay that the epoxy was attached to. For best
results in attaching to fragile materials, go
for maximum area of contact. This will help
distribute the stresses over a wider area and
reduce the stress on any given point.

You are definitely on the right track in using
strips of wood to hold the wires; just gluing
the wire directly to the clay would be much
riskier. Another thing which seems to help is
to score the areas where you plan to do the
attachment, while the clay is still damp. This
gives a mechanical bond as well. Don't overdo
the scoring; just enough to make a few grooves
in the relevant area.

You are probably going to be just fine with the
work you just sold, though; I wouldn't worry.

-Snail

Gary Ferguson on tue 14 jan 03

Mike:

I would think the bare clay would provide a porous body that would allow an
epoxy to adhere better than a smooth glassy surface.

Gary Ferguson
Raku Clay Artist
Nampa, ID 83687
Visit my site at http://www.garyrferguson.com
Subscribe to Just Raku Newsletter at http://www.JustRaku.com

----- Original Message -----
From: "Mike Leiner"
To:
Sent: Tuesday, January 14, 2003 7:49 AM
Subject: raku


> I've sold some flat tile type pieces in raku that I epoxied strips of wood
> on the back to run wires through for hanging. My paranoid mind is now
> wondering if the carbon buildup on the bare clay is acting as a barrior
> between the clay and epoxy and pieces are suddenly falling somewhere. I'm
> hoping Vince or Snail or someone can calm my fears.
> Mike
>
>

Mike Leiner on tue 14 jan 03

I've sold some flat tile type pieces in raku that I epoxied strips of wood
on the back to run wires through for hanging. My paranoid mind is now
wondering if the carbon buildup on the bare clay is acting as a barrior
between the clay and epoxy and pieces are suddenly falling somewhere. I'm
hoping Vince or Snail or someone can calm my fears.
Mike

jeremy Kaiser on tue 14 jan 03

Don't worry mike, epoxy is strong enough to permanently glue your skin together. Oh hey people, my name is jeremy kaiser and I'm currently a student at the University of West Florida. Any questions on glazes and effects I can help or point you the right way


Mike Leiner wrote:I've sold some flat tile type pieces in raku that I epoxied strips of wood
on the back to run wires through for hanging. My paranoid mind is now
wondering if the carbon buildup on the bare clay is acting as a barrior
between the clay and epoxy and pieces are suddenly falling somewhere. I'm
hoping Vince or Snail or someone can calm my fears.
Mike

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Vince Pitelka on tue 14 jan 03

> I've sold some flat tile type pieces in raku that I epoxied strips of wood
> on the back to run wires through for hanging. My paranoid mind is now
> wondering if the carbon buildup on the bare clay is acting as a barrior
> between the clay and epoxy and pieces are suddenly falling somewhere. I'm
> hoping Vince or Snail or someone can calm my fears.

Mike -
If the wood was epoxied to the bare clay, you probably won't have any
problem. But I would never recommend using epoxy to attach anything to a
glazed surface, because humidity can cause the epoxy to release over time.
I have seen this happen in fairly spectacular fashion - a very large platter
that fell crashing to the floor in the middle of a hot, humid, Massachusetts
summer night. Scared the hell out of us. The epoxy just popped right off
the back. I thought it was a fluke, until another one dropped off the wall
a week or so later. I took the rest of them down and figured out a
different hanging system.

For attaching tiles or other ceramic objects to another material, silicone
adhesive is always preferable. It bonds tightly and remains slightly
flexible, and therefore absorbs shock very effectively.

Silicone adhesive cannot be painted, but it doesn't have to show at the edge
of the joint, and that way you can still finish the edge with tile grout if
you wish.
Good luck -
- Vince

Vince Pitelka
Appalachian Center for Crafts
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
Home - vpitelka@dtccom.net
615/597-5376
Work - wpitelka@tntech.edu
615/597-6801 ext. 111, fax 615/597-6803
http://iweb.tntech.edu/wpitelka/

Paul Gerhold on tue 14 jan 03

Mike,
Yes in most cases it will weaken the bond but whether it is critical or not
depends on a whole lot of factors such as type of glue, weight of the piece
etc. It is not really very difficult to test a new design or concept before
putting pieces out for sale and prior testing can save a lot of grief.

If I am glueing to a Raku piece I always sand down to clean clay although in
most cases it is easier and safer to design the piece with lugs for hanging
built as part of the piece.If you are really worried make a piece and hang it
in your studio-if the bond holds through a couple of temperature cycles you
will probably be OK.
Paul

Dannon Rhudy on tue 14 jan 03

Mike said:

> I've sold some flat tile type pieces in raku that I epoxied strips of wood
> on the back .......now
> wondering if ........pieces are suddenly falling somewhere.......


My experience with using epoxy for hanging purposes has
varied. I did a large series of wall pieces- raku, some of them-
a few years ago. I tested them on my studio wall, to see how
the epoxy would hold. Some held. Some held for a week or
two and suddenly let go. I could never quite decide why some
worked and some did not - perhaps 20% or so would suddenly
crash to the floor. It may be that I did not mix the epoxy
thoroughly, though I did try to do that right. Tried various
epoxies, thought PC-7 best. But it failed too, sometimes.

So I changed my hanging method: I made two small holes part
way through the piece, on the back. I angled the holes upward.
After firing, I then put epoxy INTO the holes, and made wire
hangers, bent appropriately, pushed into the epoxy filled holes.
No further problems.

I read somewhere that PC-7 is what they use to hang the marble/stone/
metal/whatever facings on high-rises. They use metal bars
inserted into the facing material, and into the building, secured
with epoxy. Can't remember where I read it, might be
apocryphal.

regards

Dannon Rhudy

Ellie Blair on mon 14 apr 03

Can you raku fire in oxidation?

Bruce Girrell on mon 14 apr 03

> Can you raku fire in oxidation?

Of course. In fact, a lot of raku _firing_ is done in oxidation, followed by
a trip to a reduction barrel. But there's no need for the reduction barrel
either, depending on what effect you are after. If you want a white crackle
with nice dark lines you will need to put the pots in a reduction bin. If
you are doing horsehair firing, the pots never come close to reduction in
any form. If you want any of the copper effects then you must reduce, though
not necessarily in the firing. We have one glaze that is green in oxidation,
red in reduction, and copper in post-fire reduction. It all depends on what
you are trying to achieve.

Hope that helps more than confuses.

Bruce "ambiguous answers ? us" Girrell

Susan Setley on mon 14 apr 03

In a message dated 4/14/03 12:54:25 PM, bigirrell@MICROLINETC.COM writes:

<< > Can you raku fire in oxidation?


Of course. In fact, a lot of raku _firing_ is done in oxidation, followed by

a trip to a reduction barrel. But there's no need for the reduction barrel

either, depending on what effect you are after. >>

I meant could you personally. :)

Anyway, I wouldn't create a reduction atmosphere in an electric kiln, myself.

Ellie Blair on mon 14 apr 03

That helps some. I have only done raku in reduction and know absolutely
nothing about oxidation. It sounds like something that would be fun plus
interesting. I do crystalline glazes mostly but am looking for something
else that I can do in my electric kiln.
Thanks
Ellie


----- Original Message -----
From: "Bruce Girrell"
To:
Sent: Monday, April 14, 2003 3:53 PM
Subject: Re: raku


> > Can you raku fire in oxidation?
>
> Of course. In fact, a lot of raku _firing_ is done in oxidation, followed
by
> a trip to a reduction barrel. But there's no need for the reduction barrel
> either, depending on what effect you are after. If you want a white
crackle
> with nice dark lines you will need to put the pots in a reduction bin. If
> you are doing horsehair firing, the pots never come close to reduction in
> any form. If you want any of the copper effects then you must reduce,
though
> not necessarily in the firing. We have one glaze that is green in
oxidation,
> red in reduction, and copper in post-fire reduction. It all depends on
what
> you are trying to achieve.
>
> Hope that helps more than confuses.
>
> Bruce "ambiguous answers ? us" Girrell
>
>
____________________________________________________________________________
__
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
>

Craig Dunn Clark on wed 16 apr 03

Ellie, I've been using a coupla electric kilns to fire the pots before
post-fire reduction for several years now. Works great.
Craig Dunn Clark
619 East 11 1/2 st
Houston, Texas 77008
(713)861-2083
mudman@hal-pc.org

----- Original Message -----
From: "Ellie Blair"
To:
Sent: Monday, April 14, 2003 4:34 PM
Subject: Re: raku


> That helps some. I have only done raku in reduction and know absolutely
> nothing about oxidation. It sounds like something that would be fun plus
> interesting. I do crystalline glazes mostly but am looking for something
> else that I can do in my electric kiln.
> Thanks
> Ellie
>
>
> ----- Original Message -----
> From: "Bruce Girrell"
> To:
> Sent: Monday, April 14, 2003 3:53 PM
> Subject: Re: raku
>
>
> > > Can you raku fire in oxidation?
> >
> > Of course. In fact, a lot of raku _firing_ is done in oxidation,
followed
> by
> > a trip to a reduction barrel. But there's no need for the reduction
barrel
> > either, depending on what effect you are after. If you want a white
> crackle
> > with nice dark lines you will need to put the pots in a reduction bin.
If
> > you are doing horsehair firing, the pots never come close to reduction
in
> > any form. If you want any of the copper effects then you must reduce,
> though
> > not necessarily in the firing. We have one glaze that is green in
> oxidation,
> > red in reduction, and copper in post-fire reduction. It all depends on
> what
> > you are trying to achieve.
> >
> > Hope that helps more than confuses.
> >
> > Bruce "ambiguous answers ? us" Girrell
> >
> >
>
____________________________________________________________________________
> __
> > Send postings to clayart@lsv.ceramics.org
> >
> > You may look at the archives for the list or change your subscription
> > settings from http://www.ceramics.org/clayart/
> >
> > Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
> >
>
>
____________________________________________________________________________
__
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.

Laura Whittle on sat 27 may 06

Hi All

So I did my first Raku work today.... What a blast that was! I just wanted
to share my favourite piece! We are doing more tomorrow and I hope some
turn out as well as this. Here it is.... sorry it isn't a professional
picture or anything.

http://www.imagestation.com/picture/sraid206/pe2bc219d62080d19fdc4df4148896a
09/eecdff2c.jpg

Laura

Les McGregor - bluebottle on fri 8 sep 06

Hi All

=20

I am Les McGregor and my wife is Eloise Mogg. We live in East London, =
South Africa. Eloise is the potter and I help her and play with clay out =
of my regular IT job.



I have been a silent reader for almost a year now but thought I would =
break the silence to show pictures of our first raku firing last =
weekend. I have published a blog at http://mcmogg.blogspot.com/. Being =
my first blog and learning, I published page 2 then page 1 and now can't =
change them around! Just enjoy the pictures and we would love comments.



I built the kiln over a few weekends and we fired it for the first time =
with two pots the weekend before the event. We were nervous on the day =
but it turned out most enjoyable. In the end we fired about 8 firings.



This is a most enjoyable group. We have learned so much from just =
reading the threads. Thank you.



Enjoy!



Regards



Les - mcmogg@bluebottle.com

Eloise - moggspottery@bluebottle.com

Tara Mooney on fri 3 nov 06

I have some raku pots that I would like to spruce up.
They are copper matte, but mostly black.
I heard once that you could apply a wax. I think "butchers wax"
it was, but not sure. Thoughts.....
Tara

Robert Briggs on sat 4 nov 06

Tara,
Please don't wax your copper matte pots! That would probably do them
in permanently. Usually, if the colors haven't faded too much over
time, all you need to do is wash the dust and dirt off them in a bath
of light detergent. Copper matte or alligator style glazes seem to
have a little more staying power than say the copper lusters. Their
colors stay brighter longer but while you can lather paste wax over a
copper luster glaze, a copper matte pot will not take to heavy wax
without becoming dark. Some copper, bone ash or alligator glazes do
take well to a spray-on acrylic 'tile grout sealer' but it takes
awhile to find a good one that doesn't dull the surface of the pot.

Robert
www.corvusmoon.com

--- In clayart@yahoogroups.com, Tara Mooney wrote:
>
> I have some raku pots that I would like to spruce up.
> They are copper matte, but mostly black.
> I heard once that you could apply a wax. I think "butchers wax"
> it was, but not sure. Thoughts.....
> Tara
>
>
___________________________________________________________________________=
___
> Send postings to clayart@...
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at melpots@...
>

Bill Merrill on fri 9 nov 07

Here are a few things that may be of interest to those of you doing Raku
and a few things that=20

might help you with your copper flashing. Timing is critical to achieve
the flash. Rick Forris does incredible flashed raku. Do you know his
work? He times the pot in the reduction chamber. 8-12 minutes is
usual. Different times produce different colors. Spray your pot as you
remove the lid. Oxygen reoxidizes the copper. You only have maybe 15
seconds to get the copper to flash. You might refire many times before
you get what you want. Rick Forris fires his flashed pieces up to 30
times. He said that even then many pots are not acceptable to him. He
quit doing the flashed raku because after a few years the flashing can
reoxidize and turn merky and muddy. =20

=20

Use frit 3110 with copper..90 copper, 10 3110...experiment with this
using a line blend.

=20

. Try this formula for lots of color- Colemanite 2400, Bone ash 600
with 150 copper and cobalt oxide 90. Another version=20

of this only replaces the cobalt with iron oxide. You will=20

have a hard time finding real bone ash. You can use TCP in place of the
bone ash, but it's not the same. Use this by brushing, it works well
very thick, but thins out when brushing. Apply these two over one
another, one under \, one over. This is a matt surface with lots of
color. Completely cover with sawdust. To keep the color from

disappearing- expose the pot with a stream of water and gradually
uncover the whole pot.

=20

Flashing seems to work the best if your container is small and fairly
close to the walls of the pot. This way the flames and smoke are sure
to pass by the areas to be flashed.

=20

SOME THINGS ABOUT ''flashing'

In the first firing turn the pot to a copper penny color. Refire the
pot to 1300 degrees and then go through the flashing process.

THIN POTS FLASH EASIER BECAUSE THEY COOL QUICKER=20

POUR WATER OVER THE BARREL TO COOL THE INTERIOR QUICKLY ( try
using a barrel in a barrel that both have lids

SPRAY THE COPPER FLASH ON THE FORM,BRUSHING WORKS ON

SOME FLASHING TYPE GLAZES.

MAKE A NEST OUT OF SHREADED NEWSPAPER ...WATCH THE FLASHING

DEVELOP, THEN COVER QUICKLY

TRY COVERING IMMEDIATELY , THEN "BURP' THE BARREL , WATCH THE
FLASH DEVELOP AND COVER QUICLKLY.. COOL QUICKLYY

TRY COVERING THE ENTIRE FORM WITH SAWDUST, COVER , POUR WATER
OVER THE BARREL , REMOVE THE BARREL AND EXPOSE THE POT BY USING A HOSE
TO UNCOVER THE POT

DRY LOW HUMIDITY DAYS SEEM TO ENCOURAGE THE FLLASSSCHHH.

=20

Time how long you leave the pot in the smoke. 2 minutes, 5 minutes, 8,
minutes up to 12 minutes will give you different color ranges.

=20

HERES A FEW GLAZES FOR YOU TO TRY.=20

=20

GREEN/RED =20

FRIT 25 80

BORAX 10

EPK 5

colemanite 5

black copper 3 =20

=20

COPPER SAND ...PIEPENBURG ... WORKS WELL 800 COLEMANITE 200 BONE ASH...
TRY TCP..A SYNTHETIC BONE ASH 50 COPPER CARB

25 COBALT OXIDE

=20

COPPER FLASHS COPPER CARB... 240 COLEMANITe

FRIT 3110........10 BONE ASH/TCP....60

COPPER CAB..90 C0PPER CARB......26

IRON..............5 IRON....................4.5

=20

=20

. Here is a clear raku glaze that when heavily applied has large
spectacular crazes.

FRIT 3304 80

EPK 5


Borax 10=20

COLEMANITE 5 I've multilple
fired this glaze, puting more than one glaze layer with good
results.....different craze sizes

=20

the following is a copper lustre type glaze that can go from brilliant
blue,red to yellow green,

=20

FRIT 3110 70

COLEMANITE 5

FLINT 10

SODA ASH 10

EPK 5

Copper Carb. 2-3%

=20

=20

Heres the Soldner slips. Put the slip on bisque ware fairly thin and
then decorate with wax. Put the iron/copper over the white slip. Fire,
reduce and then partially oxidize. The halo will develop around the
black slip. When the halo starts spray the piece with water to keep the
halo. You can use a propane torch when trying to develop the halo.
What's happening is the iron copper slip seems to hold the heat and
the areas touching the sip can reoxodize. The pot will be various shades
of black, grey and white. iron/copper 50/50 Slip is simple... EPK
40... flint 20....colemanite 10

=20

These are just a few things for those of you that are new to Raku that
may be of interest to you.

=20

Bill Merrill

=20

billm@pcadmin.ctc.edu

=20

=20

=20

kathy kerner on wed 21 nov 07

Dear clay artists,
I would like to try fusing glass into raku pieces. Does this reoxidize the work?


kathy kerner
kkerner@earthlink.net
EarthLink Revolves Around You.

Dinah Snipes Steveni on fri 25 feb 11

I'm sorry about raku potter's one door shuts, another opens situation. Lots=
of good bandaids provided. Here's mine. If a look though the top/reducing =
port reveals glaze melt which looks like moonlight on ice, you're there. Yo=
u tropical denizens will have to use your imagination!


Dinah
http://www.dinahsnipessteveni.com
jd.steveni@comcast.net

Hope is not a plan.

Raymond Jimison on wed 29 jun 11

Interesting.=3D0ANo, I have not been using witness cones.=3DA0 My clay is a=
rak=3D
u clay from kickwheel in Atlanta.=3DA0 I bisque to 06 which is lower than 0=
4.=3D
=3DA0 It is not really bubbles that I am getting.=3DA0 Especially with the =
copp=3D
er carb, it is like the glaze curles away from the pot. With out the copper=
=3D
carb, it looks kind of like an od tree where the tree bark has fallen away=
=3D
.=3DA0=3D0ASandra=3D0A=3D0AFrom: Tim See =3D0ATo: jim=
isonpotter=3D
y@YAHOO.COM=3D0ASent: Monday, June 27, 2011 8:03 AM=3D0ASubject: raku=3D0A=
=3D0A=3D0AN=3D
ot speaking for laguna here but it most likely is your bisque. If the matur=
=3D
ity temp/work for your raku glaze stretches beyond your bisque temp/work (I=
=3D
am guessing your not popping in witness cones in either) your clay will ou=
=3D
tgas as your glaze starts to mature giving you the bubbles. Additions of co=
=3D
pper will lower the melt temp under the threshold of your bisque. If you ar=
=3D
e using Laguna 250 raku clay just bique to 04 and you wont have any trouble=
=3D
with bubbles.=3DA0=3DA0 Tim