Lee Love on mon 1 apr 02
At the workshop, the teapots are glazed on the outside first, finger held
over the spout hole, or if it is a Dobin (large teapot) a plug of clay is put in
the spout. Then the inside is glazed, often with the limestone glaze that
goes under the kaki glaze. The strainer holes are dabbed with a water loaded
brush.
It makes sense to glaze the outside first because the the first
surface to be glaze effects the thickness of the second surface. You want the
outside glaze to be consistant because it is what shows. The inside is not so
important.
I'll write more about this later (something I've thought about that Gavin
might find interesting) , but we adjust the thickness of the glaze according to
the thickness of the bisque ware, starting with the thinnest ware first, and
adding water as the ware gets thicker. We might adjust the thinness of the
glaze a half dozen times. We also use a different glaze according to the area
of the kiln the ware is going to be placed, using a version of the same glaze,
but with more kaolin, for the hotter areas of the kiln. I've learned a lot
about how the thickness of these ash glazes is so important in the final
results.
All the Korean kickwheels at the workshop wobble. Some of them, to a
very incredible degree. It really doesn't matter throwing off the hump
because the centeredness of the hump is independent of the wheelhead. My
korean kickwheel at my home does not wobble. It also has sealed floating
bearings (will adjust the horizontal plane) with fittings on both sets of
bearings to grease them.
Lee in Mashiko
"The lyfe so short, the craft so long to learne." - Chaucer -
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| Lee Love ^/(o\| Practice before theory. |
| Ikiru@kami.com |\o)/v - Sotetsu Yanagi - |
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"All weaves one fabric; all things give
Power unto all things to work and live." - Goethe -
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