Kenneth J. Nowicki on fri 16 aug 02
Hi friends...
Don't mean to beat a dead horse into the ground on this thread again... but I
hadn't had a chance to really respond to all the great comments that I
received on this... so I'll attempt to do it in a concise manner below... (by
the way, thanks again for your input)
............................................................................
Snail wrote:
> I have to admit, I also tend to take 'ring' as an indication
> of the strength of a piece. It indicates a higher level of
> vitrification, which is often (though not always) a sign of
> hardness. It also indicates that the piece is not cracked. <>
I agree that such a piece would probably indicate a higher level of
vitrification, but in a raku piece that is strictly decorative, I think it's
a moot point. I don't think something that is purely decorative needs to be
vitrified or especially strong. I'm not saying that the work should be
cracked or flawed, but just because it doesn't "ring" when thumped shouldn't
make a difference in my opinion.
> <> Others avoid the problem by using clay which contains
> materials resistant to thermal shock, which allows the clay
> to be fired closer to its vitrification point.
The manner in which I use my white stoneware raku vessels to decorate on,
requires that I keep a fairly smooth surface. The designs that are hand drawn
in pencil in the bisque state work much better on a smoother surface for me.
(I suppose I could do a terra sig to smooth the surface, but to me it's just
one more step) Additionally, I think there is less pinholing of the glazes
when the piece doesn't have those little holes from the grog that were caused
from trimming, which leave little black carbon spots in raku... an effect I
don't particularly like on my work. These are some of the reasons I don't
like my clay body heavy with so many materials in it like grog or sand. Just
personal preference for me.
.............................................................................
Paul Gerhold wrote:
> Given two pots of equal esthetic value I would probably say that the pot
> that rang was the better pot since it was most likely more vitrified and
thus
> more likely to survive the test of time.
You really think this is true in a raku situation here? These pots are being
placed on peoples mantles, tabletops, niches, and bookshelves... they are not
being used in the kitchen or being put in the dishwasher here.
> I would also say that since no two artists work is the same that your
> competitor was way out of line, probably not very honest and that the
gallery
> person should learn something about pottery if he is going to be in the
> business.
On this point, I wholeheartedly agree. :-)
> On the other hand if you are really using a cone 10 body for raku your pots
> could be a lot more fragile than they have to be.
Forgive me if I'm misunderstanding something here, but from what a few have
said... that if I use a clay body closer to my firing range... for example a
cone 6 body... that the clay will in fact be closer to vitrification... but
will also suffer the consequences of thermal shock worse... unless I use a
clay body impregnated with thermal resistant materials... correct?
............................................................................
Marta Gloviczki wrote:
> ken,
> if i walk into that gallery and want to buy a raku pot, i am going to buy
> one which i like the most. i look for its form and color-
> it can ring or sing or do whatever tricks, if i dont like its looks, i am
> not going to buy it.
> i can understand the importance of proper vitrification in a functional
> pot, but i dont see much reason for it when talking about a raku piece.
> dont worry, if people will prefer your raku vessels, they will choose them
> over your colleauge`s. marta
Thank you Marta for echoing my sentiments exactly. :-)
............................................................................
Leland Hall wrote:
> Since reading your post, I've found myself wandering around the house
> and studio wacking pot rims with a fingernail.
This made me chuckle... lol... sorry...
> Most of them ring, but not all. <>> Raw deal this guy
> shooting off his mouth. If he's new in the business, maybe he just needs
> educated. If he's been around a while, might just be a jerk, and
unteachable.
> (though you never know till you try) <> I think it's true that as you
> get closer to vitrification, there is more breakage. This can be handled
> to some degree with more finnesse in postfireing reduction techniqe
> and slower turn aroun in kiln loading. It's always a trade off some way
> or another. Also vitrified clay takes raw glaze differently.
Good response... thanks Leland.
..............................................................................
Craig wrote:
> Ken, some of my pots ring a bit and others don't. I'm not overly
> concerned either way as long as they are structurally sound. Of more
concern
> to me is whether or not the glazes that I use will fade.
I agree.
> Now I'm not saying that one that gives off a dull thud when subjected to
> the thump test will make it to market either. I believe that there is a
> considerable amount of leeway when it comes to Raku. The pieces are not
ever
> to be used for utilitarian purposes (meaning as service for food or drink)
> and because of this vitrification of the clay body is not crucial. <>
> Craig Dunn Clark
I should've probably clarified that my pieces when thumped didn't really give
off a "dull" thud... I guess I meant that they just didn't ring... and gave
off more of a non-ringing quality. (whatever that is) I know what you mean
though by a raku pot giving off a dull thud... as I have had a few sound as
such that in fact had some cracks that kept me from shipping them off to the
galleries or putting them up for sale. Thankfully, this percentage is very
low for me. I kind of laugh to myself when I look around my house and just
about the only pots of my own displayed are the "rejects" that are too
fractured to send to my galleries... sad eh? Kind of like the mechanic that
drives the noisy beat up ol car to work everyday... eh? ...lol
.............................................................................
Mike Gordon wrote:
> After reading this thread, I tested all my raku pieces. They all ring.
> All are thrown with Laguna " Rods Bod" or "Soldate 60" , cone 10 clays.
> All were bisqued at C/04. <> Mike Gordon
Hmmm... I wonder if I have been bisquing too low in the past. Might try
jumping up to ^04 next time and see what happens. Thanks.
...........................................................................
Gayle Bair wrote:
> My Laguna ^6 B-mix ^06 bisqued pieces ring unless I have a crack.
> I am not a raku maven but I think a higher bisque firing might help???
> Gayle Bair
> Bainbridge Island, WA
Sounds like you and Mike Gordon are on the same wavelength! :-) I think you
guys are right... a higher bisque may solve the problem! Thanks!
..............................................................................
Okay... sorry for the long long response, but it was easier than addressing
each of you separately. Thanks for your reading patience and to all that
responded with their 2 cents... I appreciate it. I just love this list! :-)
Best wishes,
Ken
Kenneth J. Nowicki
Port Washington, NY
RakuArtist@aol.com
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