Anne Hunt on sun 14 mar 99
Yo out there!
Someone recently asked for naked/candy raku info, and I unfortunately
deleted their message--hope you're still looking for responses.
Attended two workshops recently which yielded the following, if I'm
passing it on right:
Take one each bisqued pot, preferably with terra sig applied while green
(?), apply Jacobsen's slip wherever naked raku effect is desired, then put
thin coat of crackle glaze of choice over the Jacobsen's (and wherever else
you want regular crackle). By the bye, the Jacobsen's is a very thick mix,
so the coating on the pot will appear a bit irregular and clotty. (As I
understood it, the slip/glaze doesn't have to totally dry before firing.)
Raku fire as normal, pull the pot and put in can ---no "burping" required.
After three to four minutes, pull the pot out of the can and totally
submerge in a bucket of water and keep it there. NOTE: the pot may still
be glowing at the base---go for it! Also, the larger the pot, the more it
will "fight" you when you start submerging it---make sure you win! This is
from personal experience with only five pots, but all have turned out great.
Pieces of the slip/glaze may come off in the bucket; once the pot is out
of the bucket, remove the rest of the glaze as you're able. Wherever the
glaze has been removed is where the "naked" effect will appear. I've used
with carbon black and crackle on the same pot---stunning. However, there
are sometimes sharp edges wherever the Jacobsen's application terminates; I
don't want customers to cut themselves, so I Dremel them off. I even used
this on a large pot that had been saggar fired with a light coating of iron
sulfate...dynamite!
I'd purchased the Jacobsen's dry mix prior to obtaining the recipe---have'nt
tried out the latter yet, so can't vouch for it, but here goes:
Jacobsen's slip (^014) {we fired to ^06 in the workshop}
40 Lincoln fireclay
30 6 tile clay
20 Ione 412 grog
10 Custer spar
This is mixed to the consistency of thin frosting? Ranch dressing?
Thin Cream of Wheat?
Top coat (I've used 80/20 crackle, haven't tried this yet)
60 3110
40 Gerstley
Good luck with this, would like to know how it turns out.
anne & the cats
Eydie DeVincenzi on mon 15 mar 99
-------------------
I've completed all of TWO Raku firings - successfully I might add. But I
have a question: What is the purpose of submerging the piece in water?
Can I skip that step if I am willing to wait a long period of time for the
piece to cool down?
Eydie DeVincenzi
Anne Hunt on tue 16 mar 99
-----Original Message-----
From: Anne Hunt
To: CLAYART@LSV.UKY.EDU
Date: Tuesday, March 16, 1999 11:35 AM
Subject: Re: Naked Raku
>----------------------------Original message----------------------------
>
>-----Original Message-----
>From: Eydie DeVincenzi
>To: CLAYART@LSV.UKY.EDU
>Date: Monday, March 15, 1999 2:46 PM
>Subject: Naked Raku
>
>
>----------------------------Original message----------------------------
>-------------------
>I've completed all of TWO Raku firings - successfully I might add. But I
>have a question: What is the purpose of submerging the piece in water?
>Can I skip that step if I am willing to wait a long period of time for the
>piece to cool down?
>
>Eydie DeVincenzi
>
>
>
>In answer, Eydie, it wasn't explained at the workshop---but I should think
>that it has something to do with increasing the thermal shock & thereby
>exagerrating the difference in shrink/contraction rate between the pot &
>slip and/or top coat glaze---thereby creating the "naked" raku effect. If
>you were to let the piece cool off over a slower period of time, perhaps
>that difference in rate wouldn't be there and the chipping off wouldn't
>occur. What do you think?
> How 'bout trying it with a "junk" pot, and be sure to let me/us know.
>Are you pleased with your results so far?? Wahoo!
>
>Cheers! anne & the cats
Stand fast, Eydie! What today's posts have been saying on this thread is
accurate, in terms of copper-based glazes. In fact, some folks who used to
use water to stop the oxidation process after pulling from the can (i.e., R.
Piepenberg, I've been told), no longer do it.
HOWEVER, I'd bet one of my cats that some of today's authors read only the
"raku" and not the "naked"; if that's not the case, I know I'll be
corrected. Will Jacobsen in Shelton, WA (have his address, but no phone)
developed the technique, and also the formula for the undercoat slip. He
followed that with the development of "candy" raku, which apparently has an
undercoat of sugar in it, hence, a sweet smell while in the kiln. Both of
these "types" of raku are lightly treated in Robin Hopper's book The Ceramic
Spectrum.
Again, what's been said about slow cooling definitely applies to
copper-based glazes,et al, but NOT the "naked" raku. I still believe that
my guesstimate as to rationale for water dunking is in the ballpark. If I'm
wrong, it won't be the first time my shorts have been tweaked. Final
recommendation also stands...you may find that your results are just as good
by trying it out on a junk pot...again, please let me know (I'm out of a
firing cycle right now).
anne, with one cat on notice
Richard Schate on tue 16 mar 99
I was told that it was to make the color stay on the piece. IT is called
squenching some even dip it in a water oil mixture
On Tue, 16 Mar 1999, Anne Hunt wrote:
> ----------------------------Original message----------------------------
>
> -----Original Message-----
> From: Eydie DeVincenzi
> To: CLAYART@LSV.UKY.EDU
> Date: Monday, March 15, 1999 2:46 PM
> Subject: Naked Raku
>
>
> ----------------------------Original message----------------------------
> -------------------
> I've completed all of TWO Raku firings - successfully I might add. But I
> have a question: What is the purpose of submerging the piece in water?
> Can I skip that step if I am willing to wait a long period of time for the
> piece to cool down?
>
> Eydie DeVincenzi
>
>
>
> In answer, Eydie, it wasn't explained at the workshop---but I should think
> that it has something to do with increasing the thermal shock & thereby
> exagerrating the difference in shrink/contraction rate between the pot &
> slip and/or top coat glaze---thereby creating the "naked" raku effect. If
> you were to let the piece cool off over a slower period of time, perhaps
> that difference in rate wouldn't be there and the chipping off wouldn't
> occur. What do you think?
> How 'bout trying it with a "junk" pot, and be sure to let me/us know.
> Are you pleased with your results so far?? Wahoo!
>
> Cheers! anne & the cats
>
Larry Phillips on tue 16 mar 99
Eydie DeVincenzi wrote:
> What is the purpose of submerging the piece in water?
> Can I skip that step if I am willing to wait a long period
> of time for the piece to cool down?
Immersion in water 'freezes' the process at the right time. The purpose
of the reduction step is to remove oxygen from the glaze materials.
This is done by burning straw, paper, leaves, etc, in a closed container
along with the piece. The oxygen is used up soon, and the burning
materials obtain it from the glaze. As soon as you remove the piece from
the reduction container, the glaze will start to re-oxidize.
Since the colours you are striving for are the ones that appear when
the oxygen leaves the glaze, you plunge the piece into water in order to
stop the re-oxidation.
On the other hand, if you are trying to achieve a crackle, you want to
delay or eliminate the water step to allow the crackle to fully develop.
--
---------------------------------------------------------------
I like deadlines. I especially like the whooshing sound of them
as they go flying by.
http://cr347197-a.surrey1.bc.wave.home.com/larry/
Michael E. Cole on tue 16 mar 99
At 05:45 PM 3/15/99 EST, you wrote:
>----------------------------Original message----------------------------
>-------------------
>I've completed all of TWO Raku firings - successfully I might add. But I
>have a question: What is the purpose of submerging the piece in water?
>Can I skip that step if I am willing to wait a long period of time for the
>piece to cool down?
>
>Eydie DeVincenzi
>
>Hi, Eydie
I try to avoid dipping a hot piece in water. Alot of clays will crack and I
find it not neccesary if you keep your pot in the reduction bucket until it
is cool. I know some potters use cold water to lfreeze a copper glaze at a
point where they like the rainbow effect. I find this not neccesary
either. Maybe someone else out there knows why.
Pamela
mec
:-o ----------------------------------- :-)
m1e2c3@wco.com
Karen Shapiro on tue 16 mar 99
Hi Eydie,
I do mostly raku-fired work -- sculpture of all sizes and NEVER dunk in water
post-firing and reducing. You have a much better chance of breaking pieces if
you do dunk and I have seen no difference in the result. I leave my pieces in
the post-firing reduction cans until the can is cool enough to touch. What's
the rush?!!
Have fun -- raku is addicting!!
Karen in Sonoma
Vicki Katz on tue 16 mar 99
I am far from an expert, but it is my understanding that the water bath/shock
causes increase in number of cracks in glaze . . .
Frankly, I have raku fired with & without & believe it is kinder & gentler to
omit the water shock treatment.
Vicki Katz
Anne Hunt on tue 16 mar 99
-----Original Message-----
From: Eydie DeVincenzi
To: CLAYART@LSV.UKY.EDU
Date: Monday, March 15, 1999 2:46 PM
Subject: Naked Raku
----------------------------Original message----------------------------
-------------------
I've completed all of TWO Raku firings - successfully I might add. But I
have a question: What is the purpose of submerging the piece in water?
Can I skip that step if I am willing to wait a long period of time for the
piece to cool down?
Eydie DeVincenzi
In answer, Eydie, it wasn't explained at the workshop---but I should think
that it has something to do with increasing the thermal shock & thereby
exagerrating the difference in shrink/contraction rate between the pot &
slip and/or top coat glaze---thereby creating the "naked" raku effect. If
you were to let the piece cool off over a slower period of time, perhaps
that difference in rate wouldn't be there and the chipping off wouldn't
occur. What do you think?
How 'bout trying it with a "junk" pot, and be sure to let me/us know.
Are you pleased with your results so far?? Wahoo!
Cheers! anne & the cats
Beth Ward on tue 16 mar 99
<< What is the purpose of submerging the piece in water?
Can I skip that step if I am willing to wait a long period of time for the
piece to cool down?
Eydie DeVincenzi >>
While in Victoria BC I had the distinct opportunity of visiting Walter Dexter
who was and I hope still is a great raku artist. He said he did not even pull
his pieces out of the raku kiln. He just turned off the gas and let them cool.
Made a great deal of sense to me.
I am not a very experienced raku artist however, but I think letting the
piece cool for a while, even in air, is the best way to go.
Beth
Stephen Mills on tue 16 mar 99
Usually to "freeze" the glazes at the point you like in the post firing
reduction phase.
Steve
Bath
UK
In message , Eydie DeVincenzi writes
>----------------------------Original message----------------------------
>-------------------
>I've completed all of TWO Raku firings - successfully I might add. But I
>have a question: What is the purpose of submerging the piece in water?
>Can I skip that step if I am willing to wait a long period of time for the
>piece to cool down?
>
>Eydie DeVincenzi
>
--
Steve Mills
Bath
UK
home e-mail: stevemills@mudslinger.demon.co.uk
work e-mail: stevemills@bathpotters.demon.co.uk
own website: http://www.mudslinger.demon.co.uk
BPS website: http://www.bathpotters.demon.co.uk
Darrell Gargus on tue 16 mar 99
I found that dipping the piece in the water does add color. It has made
the oranges more brillant and the reds redder. Sometimes, the pot
didn't look all that colorfull until I dipped it in the water. The key
is (for me at least) that the pot is not so hot that you can't touch it,
but not so cool that you don't want to put it down. The water does warm
up after a few pots being placed in there to cool down.
I really don't know the purpose of it, but I do know that if I let my
pots cool without the water outside of the reduction part, that the pots
cracked more.
becky
Michael E. Cole wrote:
>
> ----------------------------Original message----------------------------
> At 05:45 PM 3/15/99 EST, you wrote:
> >----------------------------Original message----------------------------
> >-------------------
> >I've completed all of TWO Raku firings - successfully I might add. But I
> >have a question: What is the purpose of submerging the piece in water?
> >Can I skip that step if I am willing to wait a long period of time for the
> >piece to cool down?
> >
> >Eydie DeVincenzi
> >
> >Hi, Eydie
> I try to avoid dipping a hot piece in water. Alot of clays will crack and I
> find it not neccesary if you keep your pot in the reduction bucket until it
> is cool. I know some potters use cold water to lfreeze a copper glaze at a
> point where they like the rainbow effect. I find this not neccesary
> either. Maybe someone else out there knows why.
> Pamela
> mec
> :-o ----------------------------------- :-)
> m1e2c3@wco.com
Burtt on wed 17 mar 99
It's interesting to hear the varying methods for post reduction raku. My
first experience was a few years ago at one of Rick Berman's raku
workshops at The Plains, Virginia, and we dunked our pieces in tubs of
water. I lost two of five pots to the process, but that's the way i
thought you could effectively freeze the color you wanted.
Since then I've done some testing of other methods. One person
suggested just letting your pots sit in the grass and cool. I got
horrible results that way. Just leaving them in the reduction chamber
seemed to do alright, but I kept wondering what colors I had missed on
the way to its final shades.
So, anyway, now I have a squirt bottle of water that I spray. And I
can actually see subtle changes of color as the water hits the surface.
Mark down one for the squirt bottle.
Steve Burtt
Ocean Springs, Mississippi
John Stuart on thu 18 mar 99
Eydie,
Some raku glazes need rapid cooling to enhance their development. Rick's
turquiose(sp?) is a favorite that comes to mind. Other glazes need
quenching to avoid problems, such as a cloudy /hazy effect.
John
>----------------------------Original message----------------------------
>-------------------
>I've completed all of TWO Raku firings - successfully I might add. But I
>have a question: What is the purpose of submerging the piece in water?
>Can I skip that step if I am willing to wait a long period of time for the
>piece to cool down?
>
>Eydie DeVincenzi
>
Brian Crocker on thu 18 mar 99
G'day All,
For Raku colour fixing.
1/ Forget quenching in water too many rejects regardless how good the clay is..
2/ Forget quenching in a water-oil mixture oil and water will not mix "as
we all know" and you will still be in cold water after you pass the
layer of oil on the top.
3/ If you feel you have to quench use a [ metal ] Quenching Oil that the
industrial heat treaters use for quenching alloy steels it is formulated
to slow down the cooling rate, prevent cracking and exclude oxygen.
There are several formulations for different applications so speak to the
experts BP, Caltex, Shell, Castrol etc..
4/ Use a high concentration of Soluble Oil as used for machining Steel,
also speak to the experts.
5/ Use a reduction bin that will totaly seal and leave the pot in the bin
until cool, several pots == several bins.
Kind regards Brian C.
At 08:45 PM2:10: 16/03/99 EST, you wrote:
>----------------------------Original message----------------------------
>I was told that it was to make the color stay on the piece. IT is called
>squenching some even dip it in a water oil mixture
>
>On Tue, 16 Mar 1999, Anne Hunt wrote:
>
>> ----------------------------Original message----------------------------
>>
>> -----Original Message-----
>> From: Eydie DeVincenzi
>> To: CLAYART@LSV.UKY.EDU
>> Date: Monday, March 15, 1999 2:46 PM
>> Subject: Naked Raku
>>
>>
>> ----------------------------Original message----------------------------
>> -------------------
>> I've completed all of TWO Raku firings - successfully I might add. But I
>> have a question: What is the purpose of submerging the piece in water?
>> Can I skip that step if I am willing to wait a long period of time for the
>> piece to cool down?
>>
>> Eydie DeVincenzi
>>
>>
>>
>> In answer, Eydie, it wasn't explained at the workshop---but I should think
>> that it has something to do with increasing the thermal shock & thereby
>> exagerrating the difference in shrink/contraction rate between the pot &
>> slip and/or top coat glaze---thereby creating the "naked" raku effect. If
>> you were to let the piece cool off over a slower period of time, perhaps
>> that difference in rate wouldn't be there and the chipping off wouldn't
>> occur. What do you think?
>> How 'bout trying it with a "junk" pot, and be sure to let me/us know.
>> Are you pleased with your results so far?? Wahoo!
>>
>> Cheers! anne & the cats
>>
>
>
Brian Crocker
4 Erica Street,
Tea Tree Gully 5091,
South Australia,
Australia. {e.mail} crocker@dove.com.au
" When a Potter Gives or Sells Pots. Part of a Life is Given Also " CR
OC.
Stephen Mills on thu 18 mar 99
In message , Richard Schate <99rschat@jasper.uor.edu> writes
>----------------------------Original message----------------------------
>I was told that it was to make the color stay on the piece. IT is called
>squenching some even dip it in a water oil mixture
>
>On Tue, 16 Mar 1999, Anne Hunt wrote:
Peter Hayes introduced me to dunking Raku pieces in Diesel Fuel (no it
doesn't catch fire). The pots are unusable but the colours are
wonderful.
Steve
--
Steve Mills
Bath
UK
home e-mail: stevemills@mudslinger.demon.co.uk
work e-mail: stevemills@bathpotters.demon.co.uk
own website: http://www.mudslinger.demon.co.uk
BPS website: http://www.bathpotters.demon.co.uk
Diane G. Echlin on wed 1 mar 00
Has anybody out there ever tried a technique called Naked Raku? I read
about it several years ago in CM, and tried it with little success due
to a lack of technical information in the article. Any info is
appreciated!
Thanks!
Di
L Skeen on thu 2 mar 00
"Diane G. Echlin" wrote:
> ----------------------------Original message----------------------------
> Has anybody out there ever tried a technique called Naked Raku? I read
> about it several years ago in CM, and tried it with little success due
> to a lack of technical information in the article. Any info is
> appreciated!
> Thanks!
> Di
You want to talk to Charlie Riggs, and see the article about his work in
this month's Clay Times, which I just rec'd yesterday. Click here to email
Charlie. mailto:fireclay@dsslink.net
L
Lana Reeves on thu 2 mar 00
Never tried it. I might get burned in sensitive places. And the neighbors
would stare...
Lana [sorry, I couldn't resist that one :-)]
kilnkat@rcn.com =^..^=
-----Original Message-----
From: Diane G. Echlin
To: CLAYART@LSV.UKY.EDU
Date: Wednesday, March 01, 2000 12:38 PM
Subject: Naked Raku
>----------------------------Original message----------------------------
>Has anybody out there ever tried a technique called Naked Raku? I read
>about it several years ago in CM, and tried it with little success due
>to a lack of technical information in the article. Any info is
>appreciated!
>Thanks!
>Di
Pamala Browne on thu 2 mar 00
Hi Dianne-- check in the archives under "pop off slip" . And yes I've done
it , but haven't tried it with David Roberts recipe . I love the effect--
just haven't perfected mine yet.Write me off- list if you would like ---
also check out David Roberts web page -----WOW pamalab
----- Original Message -----
From: Diane G. Echlin
To:
Sent: Wednesday, March 01, 2000 9:37 AM
Subject: Naked Raku
> ----------------------------Original message----------------------------
> Has anybody out there ever tried a technique called Naked Raku? I read
> about it several years ago in CM, and tried it with little success due
> to a lack of technical information in the article. Any info is
> appreciated!
> Thanks!
> Di
>
Lynne Berman on fri 3 mar 00
Di,
Here's a collection of recipes. Good luck. This stuff is great when it works.
Lynne Berman in Philadelphia
NAKED RAKU
Resist Slips and Glazes To Go With Them
David Roberts resist slip
(EPK)Kaolin 3 parts by volume
Flint 2 parts by volume
Copper Oxide 10% (or none)
use with the following glaze
Raku Crackle Glaze
(by David Roberts in Sawdust Firing)
High Alkali Frit 45%
Soft Borax Frit 45%
China Clay 10%
Fire to 1562-1652F.
Glaze Marie-Claire in the Netherlands
90% Borax frit
10% kaolin
____________________________________________________
Resist Slip Marie-Claire
2 parts kaolin
3 parts flint or silica
works with
Glaze
Frit 3110 65%
Gerstley Borate 35%
don't use this glaze with the Roberts slip
________________________________________________
Jacobsons' Slip and Glaze
Slip
40% Lincoln 60 fireclay
30% 6-Tile clay
20% Ione 412 Grog
10% Custer feldspar
or this variation used without glaze
Chip n Slip
40% Hawthrone Bone or A-P Fireclay
30% Kaolin
20% Pyrotol (or grog)
10% Custer Feldspar
Glaze
60% Ferro Frit 3110
40% Gerstley Borate
Bisque to Cone 012-010
Fire to cone 014 (1540F.), smoke, water-quench, peel
___________________________________________________________
Gordon Hutchens Slip
used without glaze
Fire Clay 50
EPK 30
Alumina Hydrate 20 (or 10% for easier removal)
Marci Masterson
(From Sharon in Fort Worth)
#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 recipes 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.
Teresa Speakman on sun 5 mar 00
Diane,
According to Tim Andrews, in his book "Raku," Eddie Porck is the
originator of "Naked Raku" in 1981. Included in the book is detailed
instructions and photos of Porck's and David Roberts' work. Check it out, it
is a wonderfully inspiring book! Porck also developed "Candy Raku," which
included sugar in the slip, and then covered it with the raku glaze. Eddie
is quoted as saying, "The layer of sugar had burnt crisp black crystalline
figures into the surface of the work, each accentuated by a light border"
(Andrews 101) -Teresa in Ohio
> From: "Diane G. Echlin"
> Reply-To: Ceramic Arts Discussion List
> Date: Wed, 1 Mar 2000 12:37:21 EST
> To: CLAYART@LSV.UKY.EDU
> Subject: Naked Raku
>
> ----------------------------Original message----------------------------
> Has anybody out there ever tried a technique called Naked Raku? I read
> about it several years ago in CM, and tried it with little success due
> to a lack of technical information in the article. Any info is
> appreciated!
> Thanks!
> Di
>
Kip Whelan on tue 7 mar 00
Just got my copy of Clay Times Volumn 6, #2 March/April 2000. There is an
article about naked Raku as done by Charlie Riggs of Carthage, North
Carolina. Explanation, some reciepies of the slip he uses and a number of
pictures of pots that have been fired using this technique.
Kip Whelan
Charlie and Linda Riggs on wed 8 mar 00
Kip
Just to add something else to the info in the article...... Thickness of the
slip is another factor in the process. The thicker the coating of slip the
easier it shells off. Decreasing the alumina hydrate helps this too. Also
the thicker the slip on the piece the larger the crackle pattern and the
whiter (if the clay body is white) the background remains.
If the slip shells off too easy you can thin the slip down some or increase
the alumina hydrate content. The other side of the coin to thinning down the
slip is that it will make the crackle pattern smaller and the white areas lean
more towards the grays.
The slip is Gordon Hutchin's and goes like this:
Fireclay 50%
EPK 30
Alumina Hydrate 10-20% (more to make it shell off easier)
We mix it REALLY thick. More like a sludge and dip the pots rather than
brushing on the slip. The coating is around 1/8" thick.
We then fire up to 1500-1650 F, pull the pot and place it into the reduction
can with news paper. When it is cool enough to touch we shell off the slip
with our fingers or a plastic credit card.
Charlie Riggs
Kip Whelan wrote:
> ----------------------------Original message----------------------------
> Just got my copy of Clay Times Volumn 6, #2 March/April 2000. There is an
> article about naked Raku as done by Charlie Riggs of Carthage, North
> Carolina. Explanation, some reciepies of the slip he uses and a number of
> pictures of pots that have been fired using this technique.
>
> Kip Whelan
pam pulley on sat 11 mar 00
Has anyone tried this technique in a Pit Fire?
>From: Charlie and Linda Riggs
>Reply-To: fireclay@dsslink.net
>To: CLAYART@LSV.UKY.EDU
>Subject: Re: Naked Raku
>Date: Wed, 8 Mar 2000 17:44:04 EST
>
>----------------------------Original message----------------------------
>Kip
>
>Just to add something else to the info in the article...... Thickness of
>the
>slip is another factor in the process. The thicker the coating of slip the
>easier it shells off. Decreasing the alumina hydrate helps this too. Also
>the thicker the slip on the piece the larger the crackle pattern and the
>whiter (if the clay body is white) the background remains.
>
>If the slip shells off too easy you can thin the slip down some or increase
>the alumina hydrate content. The other side of the coin to thinning down
>the
>slip is that it will make the crackle pattern smaller and the white areas
>lean
>more towards the grays.
>
>The slip is Gordon Hutchin's and goes like this:
>
>Fireclay 50%
>EPK 30
>Alumina Hydrate 10-20% (more to make it shell off easier)
>
>We mix it REALLY thick. More like a sludge and dip the pots rather than
>brushing on the slip. The coating is around 1/8" thick.
>
>We then fire up to 1500-1650 F, pull the pot and place it into the
>reduction
>can with news paper. When it is cool enough to touch we shell off the slip
>with our fingers or a plastic credit card.
>
>Charlie Riggs
>
>
>
>Kip Whelan wrote:
>
> > ----------------------------Original message----------------------------
> > Just got my copy of Clay Times Volumn 6, #2 March/April 2000. There is
>an
> > article about naked Raku as done by Charlie Riggs of Carthage, North
> > Carolina. Explanation, some reciepies of the slip he uses and a number
>of
> > pictures of pots that have been fired using this technique.
> >
> > Kip Whelan
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
Eileen Streeter on sun 12 mar 00
pam...
yes... while our raku kiln was down... i tried this slip in a saw dust
kiln a follow students father constructed.... more or less a controllable
environment.... so we could get it hot by adding more wood.... and it
produced interesting black and white areas on porcelain pieces... but
the temperature was not as hot as the gas raku kiln.... also had to soak
and scrape some of the pieces to remove all of the slip... carefully...
good luck...
eileens
Vicki Conley on sun 9 jun 02
Thanks Linda, I will try some of these recipes. It looks like I am firing
too hot.
Vicki Conley
vicki@pinonpottery.com
www.pinonpottery.com
Vicki Conley on sun 9 jun 02
Hi Irene, I tried to go to the site you suggested but it would not come up.
i went to the university site it was attached to and counld not find
anything about wally asselberg. Is he a student or faculty. is there another
link to his site? Thanks Vicki
Vicki Conley
vicki@pinonpottery.com
www.pinonpottery.com
Irene Poulton on tue 11 jun 02
Hi
If your interested in doing Naked Raku, try looking at Wally Asselbergh's
web site
He is a Belgian potter who is specializing in this technique his URL is
http://www.student.kuleuven.ac.be/~m9822918/englishhtml
He is really nice and is very helpful, I am sure he has a recipe for this
slip on
his site, and if not contact him, and he will let you have it I am sure.
Good luck
Irene from Australia
Susan on tue 11 jun 02
for those who tried this website, you need to add a ".", otherwise it won't
work.
http://www.student.kuleuven.ac.be/~m9822918/english.html
> From: Irene Poulton
> Reply-To: Ceramic Arts Discussion List
> Date: Tue, 11 Jun 2002 12:51:23 +0800
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Re: Naked Raku
>
> Hi
>
> If your interested in doing Naked Raku, try looking at Wally Asselbergh's
web
> site
> He is a Belgian potter who is specializing in this technique his URL is
> http://www.student.kuleuven.ac.be/~m9822918/englishhtml
>
> He is really nice and is very helpful, I am sure he has a recipe for this
slip
> on
> his site, and if not contact him, and he will let you have it I am sure.
>
> Good luck
>
> Irene from Australia
>
>
____________________________________________________________________________
__
> 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.
>
SusanRaku@AOL.COM on tue 11 jun 02
In a message dated 6/11/2002 3:42:43 PM Eastern Daylight Time,
vconley@ZIANET.COM writes:
> Thanks Linda, I will try some of these recipes. It looks like I am firing
> too hot.
>
>
What recipes?
Susan
william schran on wed 12 jun 02
Irene forgot to insert a "dot" between english & html - that will get
you to the site.
Bill
Arnolds Home Improvements on sun 20 apr 03
Hello All !!
I have been experimenting with some naked raku ( or as we say it in the
south neckid raku) and attended some work shops for naked raku.( Thanks
Charlie and Linda) What I am interested in is the method used by Kate and
Will Jacobson and I would like to communicate with them on there methods but
I can't seem to locate them. I tried google with no success. Does anyone
know where they are located, do they have a wed site, email or phone
number???
Thanks for any help!!
Gene Arnold
mudduck@advi.net
Vera Paveli ffffe6-Posavec on sat 23 oct 04
Hello again!
Can anybody tell me something about naked raku, the technique and the needed material? I don't know a lot of it, and would be really grateful if somebody could help me.
If anybody is from Europe, maybe he could find it interesting to see this web sites, i work with their clay,colours and glazes.
http://www.ceramicacecchetto.it/first.html
http://www.hobbyceramicraft.co.uk/Colorob.html
http://www.hobbyceramicraft.co.uk/Bisquestroke.html
Regards,
Vera Pavelic-Posavec.
You can find more about me on my web site :
www.geocities.com/unikat_studio/
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Lezlie Finet on sun 24 oct 04
Hi Vera -
While a lot of us here raku-fire, there's another web site that might be
more specific to your needs in learning everything you need to know about
NakedRaku.
It's a Yahoo Group called Naked Raku Ceramics and the address is:
http://groups.yahoo.com/group/nakedraku/
You'll find tons of useful information about techniques & materials, etc.
in the Files, Database & Links, as well as pictures of some spectactular
work done by members of the Group.
There is a message board similar to this one of 'NAKU' aficianados who are
able to answer any other questions or problems ou encounter.
Naked Rakuing is a blast - Have funnnn!
Lezlie Finet
in cloudy Washington State, but thrilled to finally have a ROOF over my
studio deck so I can fire in rain, shine, snow or no-matter-what!
Jane Murray-Smith on tue 26 jul 05
Hi, I have found a huge pile of slips and glazes for naked raku in the
archives.
I know I have years of experimentation ahead of me, but I have two
questions right now.
First; there is a slip and glaze combination from David Roberts. What has
me puzzled, is that it says "by David Roberts in sawdust firing", then at
the end of the recipe says, fire to 1562F-1652F. Does a sawdust firing
get that hot?...( I really am a newbie in many many ways!)If anyone has
taken a course from him and knows about this, I'd love some input.
Second:, I use Laguna WSO for all my raku. I have never made or used
terra sig. Has anyone found a particular recipe for terra sig. to be
especially good on WSO?
Thanks Jane
Marcia Selsor on wed 27 jul 05
I was co-presenting with David at Kelowna, BC Canada in 2003. Also
there were Randy Brodnax and Don Ellis and Kathy Jefferson from
Vancouver, and Les Manning from Medicine Hat. He fired the pieces in
their raku kiln and then sawdust reduced. Then popped off the glaze/
slip and polished with diamonds...which I now use. David's pieces are
well polished and feel like stone. I was lucky enough to buy one 20 "
tall and striped naked raku. I have his book and saw his slide
presentation. He fires his large pieces in a raku kiln.
Sorry, I don't know about WSO.
Marcia Selsor
On Jul 26, 2005, at 9:10 PM, Jane Murray-Smith wrote:
> Hi, I have found a huge pile of slips and glazes for naked raku in
> the
> archives.
> I know I have years of experimentation ahead of me, but I have two
> questions right now.
> First; there is a slip and glaze combination from David Roberts.
> What has
> me puzzled, is that it says "by David Roberts in sawdust firing",
> then at
> the end of the recipe says, fire to 1562F-1652F. Does a sawdust
> firing
> get that hot?...( I really am a newbie in many many ways!)If anyone
> has
> taken a course from him and knows about this, I'd love some input.
> Second:, I use Laguna WSO for all my raku. I have never made or used
> terra sig. Has anyone found a particular recipe for terra sig. to be
> especially good on WSO?
> Thanks Jane
>
> ______________________________________________________________________
> ________
> 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.
>
>
Allyson May on wed 27 jul 05
Hey Jane,
The David Roberts recipes work pretty well although, you must understand =
he is using UK ingredients and your attempts may get very different =
results using local materials. The firing method is simply bad editing. =
David Roberts fires in a gas top hat Raku kiln (or used to anyway) and =
then reduces in sawdust. For Naked Raku using slip and glaze the =
temperature will vary but is normally around 1400-1500 F. You need to =
look for an orange peel surface to form on the works (the point at which =
the glaze layer just begins to bubble). Once this is observed its time =
to pull the pieces and reduce in sawdust, leaves, shredded paper, etc. =
As for your terra sig question, there are numerous recipes for this =
substance in the archives. Vince , I believe, is the resident terra sig =
guru I have used Charlie and Linda Riggs "Home Brew" terra sig recipe =
and found it to work very well. It is a very simple recipe with no need =
for fancy equipment. This may also be in the archives. If it isn't I =
will be happy to send it to you. There shouldn't be a problem with =
using it on WSO. Make sure that you do not touch the sig surface with =
your bare hands until after the final firing. The oils and dirt from =
your hands will leave marks on the surface which are permanent and very =
unattractive. Hope this helps.
Peace,
Allyson May
Stoney Creek Pottery
Bloomington, IN
Deborah Thuman on sun 27 jan 08
Hey Taylor - what's naked raku?
I've talked my teacher into doing a raku firing this semester.
(Translation: Deb will be doing the firing and her teacher will be
watching to make sure Deb doesn't blow up anything.) This naked raku
sounds interesting and I'd like to give it a try if I only knew what it
was.
Deb
http://debthumansblog.blogspot.com/
Marta Matray on sun 27 jan 08
>>>- what's naked raku?
This naked raku sounds interesting and I'd
like to give it a try if I only knew what it was.>>>
hi deb,
comon, you should know, it means you do the raku firing
while you are naked! :) simple, isnt it?
altho it can be dangerous around the fire :)
ok, ok, i am just kidding!
there is a naked raku group on yahoo, check it out.
also, our clayart friend, wally in belgium makes beautiful
naked raku. he also gives workshops, here is his website:
http://www.wallyasselberghs.be
(naked raku is called naked because it is without glaze.)
cheers, marta
http://martamatray.blogspot.com/
Linda Mccaleb on fri 25 jun 10
=3DA0 I have (or had) a terrible recipe for naked raku. It stuck like the d=
ic=3D
kens. It took about 1/2 to 1 hour to scrape off the outside. I threw the re=
=3D
cipe away, thinking it was hopeless. Then it dawned on me to ask you. I nee=
=3D
d a recipe that is pretty easy to scrape off but won't fall off in the kiln=
=3D
. If anybody has one, could you share please.=3D0A=3DA0 Thanks so=3DA0 much=
,=3D0A=3D
=3DA0 Linda=3D0A=3D0A=3D0A
William & Susan Schran User on sat 26 jun 10
On 6/25/10 5:55 PM, "Linda Mccaleb" wrote:
> =3DA0 I have (or had) a terrible recipe for naked raku. It stuck like the=
dic=3D
kens.
> It took about 1/2 to 1 hour to scrape off the outside. I threw the recipe
> away, thinking it was hopeless. Then it dawned on me to ask you. I need a
> recipe that is pretty easy to scrape off but won't fall off in the kiln. =
=3D
If
> anybody has one, could you share please.
It may be as simple as firing the naked raku recipe too hot.
I have found a peeling slip needs to be fired at a lower temperature than
most raku glazes. I don't fire mine any hotter than 1500F.
Applying the slip to a thickness where it adheres, cracks, but doesn't fall
off is a matter of testing because each slip recipe works with clay bodies
in different ways.
I also found with my work, after removing from reduction, touching the
surface of the slip/clay to water while still hot helps the slip come away
easier.
Here's a link to more information:
http://vickihardin.com/links/naked-raku.html
Bill
--=3D20
William "Bill" Schran
wschran@cox.net
wschran@nvcc.edu
http://www.creativecreekartisans.com
MEUNIER LEE on sat 28 aug 10
=3DA0=3DA0=3DA0I've now had several successful firings of Naked Raku, enoug=
h=3D0Ath=3D
at I'm envisioning some possibilities I haven't attempted yet.=3D0AMy reluc=
ta=3D
nce is based on errors I occasionally make which ruin=3D0Amy pots.=3D0A=3D0=
ASO=3DA0=3D
=3DA0=3DA0=3DA0=3DA0 do any of you know of a Naked Raku video, which I coul=
d=3D0Apurc=3D
hase and then=3DA0determine how=3DA0a successful potter's processes=3D0Adif=
fer fr=3D
om what I'm doing?=3D0A=3D0AI'm presently putting in a course on "The Offic=
e" s=3D
o have some time=3D0Aconstraints, having intentions of completing=3DA0all t=
hrou=3D
gh Season 6 and every =3D0Ablooper package I can find.=3DA0 =3D0A=3D0AThank=
you.=3D0A=3D
=3D0AJoyce in the Mojave desert of California U.S.A.=3D0A
marta matray on tue 31 aug 10
joyce,=3D20
did you see this before? its pretty good!=3D20
http://www.youtube.com/watch?v=3D3DRNgFFilCiug=3D20
love,marta
Rob Hackert on sun 6 feb 11
After years of throwing functional ware, I have developed an interest in =
=3D
the=3D20
Naked Raku technique. I use Highwater Clays Half and Half (cone 10), Terr=
=3D
a=3D20
Sigillata stained with 1 tsp Crocus Martis per cup. I use the Charles and=
=3D
Linda=3D20
Riggs slip, Lincoln Firecaly, EPK, and 10% Alumina Hydrate (instead of 20=
=3D
% it=3D20
comes off easier). Not using Wally's glaze at this point.
I fire in a propane kiln, reduce in either pine needles, and or newspaper=
=3D
.=3D20
Despite the variation in reduction materials, and time in reduction 10 mi=
=3D
ns, to=3D20
3 mins, the reduction is terrific, but after removing the slip covering, =
=3D
there is=3D20
this fine webbing of black, but the hoped for white areas are more a smok=
=3D
e=3D20
gray. Not much contrast. I am encouraged by what is happening, but there =
=3D
is=3D20
definitely room for improvement.
Appreciate any input, from others working on this interesting process.
Rob Hackert
Sea Country Pottery
North Port, Fl
Raymond Jimison on fri 8 apr 11
I have become fasinated with naked raku, though I have not actually experie=
=3D
nced =3D0Ait for myself.=3DA0 I have a couple questions.=3D0AI have been re=
ading =3D
the archives... there are a number of recipes for different =3D0Apeel away =
sl=3D
ips and glazes.=3DA0 These recipes appear to be fairly simple.=3DA0 Here is=
=3D0A=3D
the stupid me questions...=3D0AI always thought slip was the same make up a=
s =3D
your clay body, just watered down, =3D0Asort of speak.=3D0AThe glaze I have=
bee=3D
n using is Laguna premixed dry white crackle.=3DA0 =3D0AMy clay is KPS raku=
fro=3D
m Kickwheel.=3D0ACan I stick with this glaze, maybe adding a little copper =
ca=3D
rb. at times, and =3D0Awhat slip should I use?=3D0A=3D0AThanks,=3D0ASandra=
=3D0Ajiison=3D
pottery@yahoo.com=3D0A
Janine in Tacoma on fri 8 apr 11
There is a good online description here:=3D20=3D20
http://www.pitfire.com/naked_raku.htm
Janine in Tacoma on fri 8 apr 11
Hi Sandra:
I'm sure you will get other replies with more specifics, but first, naked=
=3D
raku=3D20
is "naked" because you don't use any glaze. The "peel away" slip is one =
=3D
you=3D20
apply thickly to a burnished or terra sig coated bisqued pot that cracks =
=3D
as it=3D20
dries and/or heats up, allowing the carbon from the post-firing treatment=
=3D
to=3D20
seep through the cracks - blackening those exposed parts, while parts sti=
=3D
ll=3D20
covered with the peel away slip will remain bare white (if you use white =
=3D
clay).=3D20=3D20
Some folks put a layer of glaze over the peel away slip to help it stay o=
=3D
n the=3D20
pot, others wrap in wire or chicken wire baskets. The type of peel away =
=3D
slip=3D20
and how it is applied can affect the crackle pattern, once you've learned=
=3D
the=3D20
basics. So that's why the naked raku slip you are finding is not the sam=
=3D
e as a=3D20
slip you would apply to become part of a pot.
Good luck and cheers
Janine in Tacoma
William & Susan Schran User on fri 8 apr 11
On 4/8/11 7:46 AM, "Raymond Jimison" wrote:
> I have become fasinated with naked raku, though I have not actually
> experienced ...
> I always thought slip was the same make up as your clay body, just watere=
=3D
d
> down,=3D20
> sort of speak.
> The glaze I have been using is Laguna premixed dry white crackle.=3DA0
> My clay is KPS raku from Kickwheel.
> Can I stick with this glaze, maybe adding a little copper carb. at times,=
=3D
and
> what slip should I use?
It depends on what clay body you're using.
The usual beginning point is 3 parts kaolin, 2 parts silica as the peel awa=
=3D
y
slip. Some use fireclay instead of kaolin, some use their clay body by
itself and adding silica.
Just remember, you apply this "slip" to bisqueware, not leatherhard or
greenware and fire to a lower temperature than usual. We fire to no more
than 1500F. This allows the slip to peel away easier.
Check online for Wally Assenburgh's naked raku site:
http://www.wallyasselberghs.be/
Also there are YouTube videos on this subject.
Bill
--=3D20
William "Bill" Schran
wschran@cox.net
wschran@nvcc.edu
http://www.creativecreekartisans.com
Pottery by John on fri 8 apr 11
----- Original Message -----
From: "Raymond Jimison"
I have become fasinated with naked raku, though I have not actually
experienced
it for myself. I have a couple questions.
Raymond,
In one step naked raku the slip is a different formulation in order to keep
it from adhering to the pot and to resist smoke excepts in its cracks in
post firing reduction, so when you stop the post firing reduction and let i=
t
cool down, you can peel and scrape it off of the pot and have black
carbonization from the cracks and the rest (relatively) untouched. In a two
step naked raku the glaze goes over the slip to act as an additional resist
and can be carved through sgraffito like to control smoke patterns.
There are nuances galore to make this all work, such as either burnishing
the pot before slip application, terra sigillata before slip application in
lieu of or additional to burnishing, adjusting the alumina up and down to
control the slip to pot adhesion, etc. It is still a developing field.
There is a Yahoo Group called Naked Raku that you can join that is devoted
(mostly) to experiences and exploration of the naked raku technique.
Regards,
John Lowes
Sandy Springs, Georgia
http://wynhillpottery.weebly.com/
Raymond Jimison on sat 9 apr 11
Thanks everyone,=3D0AI understood the basic concept of naked raku, but did =
no=3D
t understand why anyone =3D0Awould be putting glaze over the slip.=3DA0 I n=
ow g=3D
et it.=3DA0 I also did not understand =3D0Athe importance of using a differ=
ence=3D
clay body make up for the slip, I=3DA0now get =3D0Athat too.=3D0A=3D0AThis=
is such=3D
a fascinating area because there are so many variables.=3DA0 You can go =
=3D0Ao=3D
n forever trying new things.=3DA0 Everything seems to move so slowly and I =
ju=3D
st get =3D0Aso excited.=3D0A=3D0ABy the way, I do not know why this is appe=
ars to=3D
be coming from my husbands name =3D0Ainstead of mine.=3DA0 I guess because=
thi=3D
s address is a second added to the group of =3D0Ae-mail addresses set up un=
de=3D
r his account name.=3DA0 It really doesn't matter.=3D0A=3D0AThanks again,=
=3D0A=3D0ASa=3D
ndra Jimison=3D0Ajimisonpottery@yahoo.om=3D0A=3D0A=3DA0=3D0A=3D0A=3D0A=3D0A=
________________=3D
________________=3D0AFrom: Janine in Tacoma =3D0ATo: Claya=
rt@L=3D
SV.CERAMICS.ORG=3D0ASent: Fri, April 8, 2011 5:00:19 PM=3D0ASubject: Re: na=
ked =3D
raku=3D0A=3D0AThere is a good online description here:=3DA0 =3D0Ahttp://www=
.pitfire=3D
.com/naked_raku.htm=3D0A
Bonnie Staffel on sun 10 apr 11
Over the years I have experimented with doing things with clay, that are =
=3D
in
a similar area as naked raku. You might want to try these ideas with =3D
sawdust
firing methods. I have used a very high fire glaze ^10 as a resist, =3D
painting
a design on the bisque, then submitting it to a heavy smoke or sawdust =3D
fire.
After smoking, one can then scrub the glaze off as it does not melt onto =
=3D
the
bisque. Another process was where I applied a low fire ^04 glaze to a =3D
bisque
pot by means of a sponge stamp or a poured design which left a thicker
amount of glaze on the pot, fired this to the ^04 bisque temperature, =3D
then
sawdust fired this pot. The low fired glaze then crazed and the smoke =3D
went
into the cracks, giving a nice finish as well. Another cold finish would =
=3D
be
to apply the low fired glaze, fire it to ^04 and then paint the whole =3D
pot
with India Ink for a black background effect as well as defining the
crackle. =3D20
=3D20
Regards,
=3D20
Bonnie.=3D20
=3D20
http://webpages.charter.net/bstaffel/
http://vasefinder.com/bstaffelgallery1.html
DVD Throwing with Coils and Slabs
DVD Introduction to Wheel Work
Charter Member Potters Council
=3D20
gina mars on tue 16 aug 11
Hi All, I tried the naked raku with hawthorne fireclay. It peeled off=3D20
a bit and the kiln fired uneven so some spots were under fired, some =3D
over
fired. I'm going to try again in a different raku kiln. Ultimately, I =3D
would like to carve designs
into the naked raku before firing it. Kind of like the Jacobsons do in =3D
Hawaii.
The idea of using kiln was looks interesting too. I think the Jacobsons =3D
paint=3D20
the piece afterward with watercolors or something. Off to experiment.
Thanks again for all the help!
Gina Mars
www.marspottery.net
Bill Merrill on sat 3 mar 12
Paul Soldner was the first American to use lots of raw clay and and =3D
iron/copper slip on his early work. The "ghost halo " was an innovation =
=3D
of his. I figured it out in '68 when Paul did a workshop in Torrington, =
=3D
Wyoming...my realization about the Soldner Halo follows...
Here's the Soldner slips. Put the slip on bisque ware fairly thin and =3D
then decorate with wax. Put the iron/copper over the white slip. Fire, =
=3D
reduce and then partially oxidize. The halo will develop around the =3D
black slip. The pot will be various shades of black, grey and white. =3D
Spray the pot when the piece starts to develop a white line around the =3D
iron decoration. iron/copper 50/50 . Slip is simple... EPK 40... =3D
flint 20....colemanite 10..... . Some people put some colemanite in the =
=3D
iron/copper black mix, 10% is enough if you try it plain and find it =3D
not stable after firing, add the colemanite/Gertsley Borate.
Chojiro was the first known maker of tea bowls made especially for the =3D
tea ceremony he lived in the 1500's in Japan. His tea bowls were made =3D
by hand, fairly thick, especially on the bottom, which trimmed into a =3D
small foot ring. Many tea bowls were named by the maker or by who owned =
=3D
the tea bowl. These pots started with a flattened circle of clay, the =3D
outer edges of the circle were lifted upward into a vertical wall bowl =3D
shape, coils added if necessary, smoothed, pinched and scraped to form =3D
the tea bowl. His more famous tea bowls were made in the 1580's before =3D
his death at age 76 in 1580. Most of these tea bowls were about 3 =3DBD =
=3D
"tall and averaged a little over 4 wide after firing. American Raku has =
=3D
little to do with the Raku pottery of those early periods. Never the =3D
less, Raku then and now offer us some interesting concepts and forms.
There are 2 videos on Utube with Shiho Kanzaki making a hand formed tea =3D
bowl and one on cutting the foot by hand. I helped fire his Anagama =3D
during December of '97. It was a long firing and after temperature was =3D
reached, the kiln was held at that temperature for several more days. =3D
The cooloining was 10 days long as was the firing. I had the first =3D
starting shift and preheated the kiln with a small fire outside the =3D
firebox and then moved the fire into the fire box area. I was a little =3D
cautious as I was given charge of that duty, which I could have blown up =
=3D
lots of his pots. The firing went well and over the firing, I did many =3D
other 8 hour shifts as a fireman. We used a 1000, bundles of wood about =
=3D
24' long and the wood was bundled into a large arm full shape. The red =
=3D
pine at that time was $20 per bundle...a very expensive firing, but the =3D
results were very good. His firing method was similar to the firings of =
=3D
the Iga and Shigaraki pottery of the past. He also re-fired many of his =
=3D
pieces to achieve the look he wanted. His firings had a great flyash =3D
buildup and did not run on his pots. The area was a light yellow with =3D
the texture if a high magnesium carbonate and feldspar look. =3D20
http://www.youtube.com/watch?v=3D3D8T4bsH8XQv4
http://www.youtube.com/watch?v=3D3DOQAYqp-D9jA
Kate and Will Jacobson are two potters that dio naked raku. There is an =
=3D
article in Ceramics monthly several years ago...I'll look for article =3D
and post it later.
Bill
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