PurpleLama@aol.com on sun 30 nov 97
I seem to remember a discussion a few years ago about naked raku. I haven't
been able to find anything in my files and I'm having problems with the
ClayArt archives since I am on AOL.
What I remember about naked raku is that you cover the pot with this "glaze"
and it acts as a resist. That is, after post firing reduction, this "stuff"
peels off to expose the naked pot.
Was I dreaming or does someone remember what I am talking about? If I wasn't
dreaming, does anyone have the recipe and better yet, experience with it?
Thanks for your help.
Shula
PurpleLama@aol.com
Baltimore, MD USA
starting the bisque firing that will become next week's raku firing
Tadeusz Westawic on mon 1 dec 97
PurpleLama@aol.com wrote:
>
> ----------------------------Original message----------------------------
> I seem to remember a discussion a few years ago about naked raku. I haven't
> been able to find anything in my files and I'm having problems with the
> ClayArt archives since I am on AOL.
>
> What I remember about naked raku is that you cover the pot with this "glaze"
> and it acts as a resist. That is, after post firing reduction, this "stuff"
> peels off to expose the naked pot.
>
> Was I dreaming or does someone remember what I am talking about? If I wasn't
> dreaming, does anyone have the recipe and better yet, experience with it?
>
> Thanks for your help.
>
> Shula
> PurpleLama@aol.com
> Baltimore, MD USA
> starting the bisque firing that will become next week's raku firing
Shula,
Naked Raku is what Soldner does. :)
Slip-Resist Raku and Slip-Mask Raku are terms applied to a technique
first published in CM some years ago. The bisque pot is slip-coated,
then glaze-dipped and raku-fired in the normal fashion. After or during
Post Firing Reduction (PFR) and-or cold quench the slip-glaze coat is
removed, leaving the "naked" surface with the carbon impregnation
"crackle" pattern. The glaze and slip "masked" or "resisted" the carbon
impregnation where they remained uncracked during PFR, and allowed the
carbonisation where the surface cracks occured. Hence the names
"Slip-Resist" and "Slip Mask".
Someone posted some formulae in this forum some months ago, I'm sure
some kind soul will disinter them for you.
But Shula, here is a contented potter's tip: Don't look-up the published
formulae, just start experimenting with your own combinations of slips
and glazes. It might be the beginning of the journey of a lifetime.
There is another related technique that I have been developing for
several years. I am not quite ready to publish formulae and technique
but if you can view jpeg images, email me privately and I'll share.
Tadzu
Neupet on tue 2 dec 97
Shula,
I find that Gordon Hutchens resist slip works best although I will send
recipes from others who use resist slip topped with glaze. Terra sig the pots
first and fire low, like 010. Then apply what you choose. The trick is to keep
it on the pot until you take it out of the post-firing reduction and then to
get it off the pot at the end. Don't raku above 08 or you'll lose the
burnishing.
Lynne Berman in Philadlephia
Quentin D. Maxwell on wed 3 dec 97
Shula,
Try this recipe for the "naked raku" effect.
Chip-n-Slip or Raku fire clay
40 % Hawthorne Bond (can substitute A-P Green)
30 % Kaolin
20 % Pyrotrol (can substitute grog)
10 % Custer Feldspar
Apply this stuff fairly thick (the thickness will determine the
amount of crackle affect). As it dries, it will crack and almost flake
off. Fire to a bright cherry red and immediately remove to your reduction
can. I like to heavily reduce mine to get a very dark smoke to contrast
the whitest clay body I can get. I sometimes burnish the pot first (if you
burnish, don't fire over ^08 or else you lose the burnishing, so I've been
told). After reducing, you can cool the pot and start chipping off the
slip. Some will come off easily, some not so. I hope it does well for you.
It always has for me. :)
Peace & Prayers
Q.
qmaxwell@mail.llion.org
On Sun, 30 Nov 1997 PurpleLama@aol.com wrote:
> ----------------------------Original message----------------------------
> I seem to remember a discussion a few years ago about naked raku. I haven't
> been able to find anything in my files and I'm having problems with the
> ClayArt archives since I am on AOL.
>
> What I remember about naked raku is that you cover the pot with this "glaze"
> and it acts as a resist. That is, after post firing reduction, this "stuff"
> peels off to expose the naked pot.
>
> Was I dreaming or does someone remember what I am talking about? If I wasn't
> dreaming, does anyone have the recipe and better yet, experience with it?
>
> Thanks for your help.
>
> Shula
> PurpleLama@aol.com
> Baltimore, MD USA
> starting the bisque firing that will become next week's raku firing
>
DAN JOHNSTON on sat 6 dec 97
Here are some notes I found in my file on "raked raku". I hope It helps.
Dan
Farmington, MO
danj@ldd.net
Crank Slurry (resist slip) (long)
A recipe for slip/glaze resist is in the February 1992 issue of Ceramics
Monthly,
"Freedom to Discover" by Will and Kate jacobson, pp 32-34. Don't know if
this is what
you're looking for or not.
Also, I attended a workshop on this subject by Marci Masterson (I think
she is on AOL,
but not sure & have misplaced her address). Here are three variations
that she uses
(have copied her workshop handout):
#1
Fire Clay 40 grams
#6 Tile 30 grams
Custer 10 grams
Grog (28 mesh) 20 grams
#3
Fire Clay 50 grams
EPK 40 grams
Soda Spar 10 grams
(Add 5 - 15% grog)
#4
Fire Clay 50 grams
EPK 35 grams
Nepheline Syenite 15 grams
(add 5% grog - no more)
#5
Fire Clay 45 grams
EPK 35 grams
Flint 10 grams
Nepheline Syenite 10 grams
(add 5% Grog - no more)
Notes:
(can't find #2????)
#1. If fire clay is gritty, don't need grog (or need less grog).
Interesting small
design w/o grog. Marcie uses 10% grog. Apply one thinned coat crubbed.
Removes very
easily.
#3. Similar to #1. Marcie uses 10% grog.
#4. Semi straight edge design. Applies 4 even coats. Thinner and
smaller design.
Removed easily.
#5. Fairly straight edge design (almost geometric). Hard to remove.
Apply like #4.
Used w/o grog is good but small.
Additional notes: Every thing with talc "fused". Try other fluxes; try
other clays.
Almost all receipes will work with 25-50% raku claybody w/grog or sand.
Mix slip to a
consistency where it will just "pour" not "plop" off a spoon.
The following is the glaze recipe which is applied over the slip:
70% Ferro Frit 3110
30% Gerstly Borate
Mix "milk" thin and apply thinly.
Thanks for your note. I love the very first pot I tried this on and
haven't loved any of the rest but am driven to repeat this beginner's
success.
I have a shatter slip recipe here from fellow Philadelphian Amy Sarner:
50% fire clay
30% EPK
10% - 20% Alumina Hydrate (less is easier to remove)
The person who gave me this said they use no glaze.
I had used a clear crackle glaze on the first, beautiful pot over slurry
from the recycle bin plus a few handfuls of grog. Fired to 1860xF before
reducing in sawdust. That system never seemed to work again.
My best subsequent results were from a modification of the Jacobsons'
recipes in the February '92 Ceramics Monthly. Here's what they say they
do: bisque to cone 012-010, cover with slip of 40% Lincoln 60 fireclay,
30% 6-Tile clay, 20% Ione 412 grog and 10% Custer feldspar. (I increased
the EPK, didn't have 6-Tile, to 40% because the original recipe didn't
crack on the pot and I assumed it needed to shrink more. Then comes the
glaze: 60% Ferro Frit 3110 and 40% Gerstley borate. It is then fired to
cone 014, smoked, water quenched and peeled.
I also tried some of the recipes from another potter, Sharon Wetherby, on
Clayart. I'll forward these.
My conclusion is that the thickness of the application of the slip is the
most crucial element, not the recipe. The alumina and the grog recipes
don't seem much different in their effects. Not sure the effect of firing
temperature. I also think that a glaze is necessary or the pot is too
black with too little contrast. I prefer them toward the whiter end. I
think the glaze helps with the crackling and increases the contrasts by
holding together the slip between the cracks. Just a guess from a novice.
I've been looking for some cracking of the slip without it falling off the
pot as it dries. I wait until it is dry before applying the glaze coat
which I think needs to be very thin. Hate it when I get any stuck to the
pot.
That's all I know for now. I do have a newly acquired raku kiln in my
basement which I will inaugurate next week when I get gloves and the
painter finishes in our back yard, a tiny bricked square in center city.
Looking forward to your thoughts, experiences, recipes. I've never glazed
anything I like as well as I liked if before the glaze firing so would
really like to do this with more reliable results. Not sure that's
possible.
I have also been experimenting whenever the opportunity arises, with
these result:
- with David Robert's resist slip as you mentioned and a glaze from
90% borax frit and 10% kaolin, the slip gets off beautifully, the
natural black crackled network is real nice, the lines near the neck
and at the bottom of a turned round pot are thicker (I love it) than
the ones on the belly;
- with the same slip and a glaze made of 65% Fritte 3110 and 35%
Gerstley Borate, the slip doesn't get off easily, so adieu pot;
- with a resist slip from 2 parts kaolin, 3 parts kwartz (more kwartz
would let the slip go mor easily) and the glaze above (Fritte 3110 and
G.B.), I got a beautiful result: lovely big black networks on a silky,
smooth white all over a turned cylinder narrowing towards the top.
The pots are made from a French white porcelain clay and well
burnished. Slip and glaze got through mesh 80.
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