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JUST RAKU
The Newsletter for Raku Artists and Raku Art Lovers
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Month December
Issue #26
Published by
Gary R. Ferguson – Raku Artist
http://www.garyrferguson.com
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In This Issue
* While the Smoke Clears – eBook Contest Winner?
* From The Studio – Holiday Time and next eBook is coming
* Article – More Non-exploding Pots & Firing Smalls by
Wally A.
* Tips/Techniques – Wood Fired Raku by Lars B.
* Q&A – Dry Glaze Falling Off
* Glazing – Hawaiian Blue and Getting Color
* Reader Feedback – You said it.
* Calendar - eBay
* Click Away – Raku on the Internet

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* While the Smoke Clears *

2004 is just about over. It has been another exciting year
for me and I hope for you too.

Well the contest for the free Raku Glazes ebook is over and
a winner has been selected, but they have not confirmed
their email address yet – so I maybe picking a new winner
soon. http://www.garyrferguson.com/contest.htm

I had very few responses to the survey last month, but most
of those who did respond, liked the length of the
newsletter and would not change it (some even wanted it
longer).

As always, I look forward to your feedback, suggestions,
questions, and article ideas at:
mailto:editor@garyrferguson.com.

Gary R. Ferguson
- Raku Artist -
mailto:pottery@garyrferguson.com

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Here is an easy (and free) way to support this newsletter.
Open a new eBay account by clicking on the link below and
select "register" at the top. Then bid on something,
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"clicking" will be very much appreciated.
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* From the Studio *

I have not had much time for studio work during the
holidays. My shows are over for the year and I've been
busy decorating, shopping, and being generally festive! ?

I'm still putting the finishing touches on my next eBook
(Raku Secrets) and hope to have it available the first of
2005.

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If you are interested in making a little extra money for
taking on-line surveys, click on the link below. I've made
about $100 in the last month or so. Go to
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* Article *
More Non-exploding Pots and Firing "Smalls"
By Wally Asselbergh

I just have some feedback on the issue of "How to keep pots
from exploding". This may indeed happen when wet pots are
put into a real hot Raku kiln, even upon first firing with
a very low flame. Most Raku kilns just heat up so quickly
in the beginning, and the flame and pyrometer must be
watched very closely.

Some clays are more likely to create explosions than
others. Very coarse or groggy clay is usually better than
using dense clay, or clay that is bisque fired too high.

If the clay contains any air pockets, the water evaporating
into steam is likely to collect in these air pockets, and
then tension builds up, until an explosion finally occurs.

My preferred method to avoid explosions is using a simple
barbeque to heat up pots after putting on the glaze. I use
this method both for my personal work as well as when
teaching workshops. Most of the time, 10 minutes are
enough. In many cases, you can visually watch the steam
evaporating. When this stops, pots are ready for the
kiln. You can also judge by touching the pots carefully
with a finger. If they are too hot to handle, you can be
sure all the water has evaporated.

Another alternative method is to preheat the pieces in an
electric kiln. Fire up the kiln to 100° Celsius, put in the
wet pots, and leave them in for 20 minutes (30 for real big
work) I used this method during a workshop in Tucson last
April, and not one single pot exploded.

Someone else also sent in a posting about problems with
firing real small objects that are difficult to handle with
tongs. My favorite method is a simple metal basket.

Go to a scrap yard or search in the "metal container" at
your local garbage collection center. Many people make
French Fries or croquettes in a frying pan filled with oil.
When the electric elements burn out, it us usually thrown
away, but the metal basket inside is still very good. This
basket is "top class" for firing small objects. It does
give off a very bad smell upon the first firing, when the
residue of oil or fat burns away, but it will then burn
clean for any future firings.

I have used many of those for 20 or more firings; the wires
do not burn very easily. They are also very easy to grab
with tongs, I just dump them into the smoke bin with
everything inside, and put the reduction material on top.

Of course I use this method for my "naked Raku" firings,
with a very low-end temperature of 775-800° Celsius, they
should be OK for standard Raku up to 900° C, but I don't
know how this baskets will behave in high-temperature Raku
firings of 1000° C or more. I would suggest you try it out.

I also put the little objects directly on to the wires, and
they usually leave no trace, as the glaze in "naked Raku"
comes off after the firing anyway.

For standard Raku, I would suggest to throw a plate the
size of the bottom of the metal basket, or put some thin
pieces of kiln shelf on the bottom to prevent the objects
sticking to the wires.

---

Note: I will be teaching 3 hands-on "Naked Raku" workshops
in USA next spring. I remember one of your newsletters last
year also gave some information about my workshops in
Arizona, and quite a few of the members of your newsletter
were amongst the participants.

Dates and locations:
April 16-17: Dallas Clay Guild, Texas
April 23-24: Hambidge Center for Creative Arts and
Sciences, Dillard, Georgia
April 30-May 1st: Clay Planet, San José, California
If anyone interested, please mail me at:
corneel51@yahoo.com or wally.asselberghs@pi.be
Website: www.wallyasselberghs.be

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Raku: A Practical Approach by Steven Branfman
The "nuts and bolts" how-to book of Raku
Order 30% off at: http://tinyurl.com/8m5k
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* Tips and Techniques *
Wood-fired Raku
By Lars B.

Just read your great November newsletter and noticed the
section regarding kilns. You suggested either a gas or an
electric kiln. You did not mention a wood fired kiln (for
the glaze firing) I think it is worth mentioning because it
has some advantages.

A wood fired kiln may take some time to build (but can be
done in a day) and it's the cheapest one to build/run if
you have the wood.

I always suggest a wood fired kiln when a large amount of
items need to be fired during one day. A wood fired kiln
takes some time to fire up to the right temperature - but
when it gets there it stays there quiet easily and little
effort is required to keep it going.

You can fire load by load without having to wait for the
kiln to heat again. And you can preheat your items around
the top of the kiln so that they do not get damaged when
entered into the kiln.

I use gas when I have a few firings that need to be done
fast. But when I have a lot, or are with other potters, a
wood fired kiln really gets the work done. And it is a
great experience with the hot oven against the night sky
and it's the most natural (original) way of burning your
stuff.

Last, but not least, when you are done - normally in the
middle of the night – you can have a nice barbecue on top
of the still hot kiln. (It takes days before it cools
again).

I have a photo series of how to build a wood fired kiln
here: http://boegner.dk/bygovn the subtext is currently in
Danish but the photos tell it all. If you would like more
information I also have the drawing to the kiln (but
have not put it online yet).

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Amazon sells more than books! The holidays are coming!
Avoid the lines, shop online without leaving your easy
chair, and help support this newsletter all at the same
time by using the following link: http://tinyurl.com/x5xa
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* Q & A *

Q: I'm having a problem with glazing on Raku. Recently, I
had the glaze falling off my pots completely in powder
form, normally around 15 minutes into the firing (perhaps
around 300 degrees, at slow firing). Today I stopped the
firing, as there was almost none left on the test tiles I
was firing. The temperature was still very low, perhaps 300
to 400 Celsius as I was attempting to fire very slowly.
I have a self-made gas kiln, which has worked well in the
past.

I don't understand why now the glazes applied are falling
off in powder form. They do mature eventually on the shelf.
In the past with previous experiments we had good results.
Perhaps some pieces were over fired, or under fired, but we
never experienced this flaking off, or even as today,
falling off as powder.

Bearing in mind that:
Bisque were fired to 900 Celsius
Pieces are clean before applying glazes,
We are firing them with a really slow fire
We tried to apply glazes in different thickness by dipping
for 2 to 5 seconds or pouring the glazes over, or applying
with a brush.

What could be the cause? Is it possible that we are now
starting the firing too slowly, to the point where we
create a reduced atmosphere? And this could be forcing the
glazes not to adhere to the pot? I would appreciate any
help.

A: Boy, that's a new one to me! I've never seen a powder
glaze fall off the piece before it melted in the kiln
before.

Your details address some of the thoughts I had:
1) Fired the bisque too hot
2) Piece was covered with dust or grease
3) Glaze was applied too thickly
4) Glaze was not allowed to dry enough

Now it is possible you had a heavy reduction before the
glaze starts to melt could potentially cause this problem.
I know some glazes will bubble during heavy reduction, so
maybe this could "pop off" the dry glaze.
The other question is why do you fire so slowly? Is the
glaze dry when you start to fire? Are the pieces in the
direct path of the flame? Are you forcing a lot of air
through the kiln? I could see this possible influencing the
dry glaze.

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"Bought your book - great compendium!"
http://www.rakuglazes.com
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* Glazing *

I had several readers have questions about the Raku glaze
Hawaiian Copper Blue and the challenge of achieving
interesting colors. The following is my feedback on using
this glaze.

This is the challenge of that glaze.

If you are getting just Blue or Green, you are not getting
enough reduction - either firing or post-firing. To get Red
and/or Magenta you need to starve the copper of oxygen. So
either fire the kiln in reduction for part of the firing,
or increase the amount of post-firing reduction.

Now if you get just copper, you are reducing too much, so
back off the firing or post-firing reduction a little bit.

The way I fire this glaze is as follows:
1) Thin coat of glaze
2) Fire to about 1800F in about 45 minutes
3) Pull from kiln and hold in the air about 5 seconds
4) Place in garbage can lined with sheets of newspaper
5) Throw a hand full of shredded paper over the piece
6) Lid the can and let cool for about 20 minutes
7) Dunk in water
8) Pray for Color!!!

300+ More Raku Glazes can be found at:
http://www.rakuglazes.com

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Raku Pottery by Robert Piepenburg
The must have "Bible" of Raku
Order at: http://tinyurl.com/8m5b
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* Reader Feedback *

In the November issue of your newsletter, John S. said the
following: "Here's a good cheep way of sealing Raku pots
for functional use. Just use some wood varnish or anything
similar."
Does this mean that the piece would be food safe? Could I
actually make a mug, for example, that could be safely
used? The other possible interpretation is that the piece
would only be waterproof, adequate to use as a vase for
fresh flowers, for example.
BTW, I really enjoy your newsletter. Thank you very much
for all the learning opportunities you provide. Keep up the
good work!!
Carol K.
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Hi Carol:

The varnish should make the piece somewhat water tight, but
I would not use the piece to serve food. I'm not sure what
kind of chemicals could be passed from the varnish to the
food, but it might not taste very good.

Gary F.

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Gary,

I have been reading your articles in your newsletters and I
appreciate all the cool stuff I find in them every month.
I have a task for you when you get a chance. You seem to
know a lot about Raku glazes. I am enclosing a picture of
pieces that are already made with a Raku glaze that I would
love to get the formula for or pretty darn close. This
glaze is neither a matte nor a gloss. It seems to be in the
middle, like sheen or a satin finish. I visited this
gallery this summer and the people were very friendly but
did not want to give out their secret glaze. Can you tell
what they are using? The gallery is Round Tree Pottery
located in Pensacola , Fl. Even if I can come close, I
would be happy...they produce the richest reds and purples
I have ever seen in Raku.

Thanks for your help,

Michael A.

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Hi Michael:

Sorry, I didn't get you attachment, but I have seen several
of their pieces on eBay and their website. They do nice
work and get some amazing colors.

I have no idea what glaze they use or the reduction
technique they use, but I would assume they are conducting
both firing and post-firing reduction.

Being in Florida, the high humidity may be influencing the
results as well.

As far as the semi-matte goes, you can often over fire a
matte glaze and get a semi-matte effect. I do this quite a
bit with Hawaiian Blue.

Sorry I couldn't provide more insight.

Gary F.

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Hi Gary,

Thanks for adding me to your newsletter, it is awesome.

I've been doing some horsehair work lately with some ferric
chloride fuming with good results. I've tried fuming with
bismuth subnitrate and barium chloride as well but neither
of them did anything at the 1100-1200 degree range. I've
heard that cobalt chloride might give a light blue. Got
any suggestions for ways to get other colors from
chemicals? I also tried purple fruit juice and a green
mason stain in water and as you'd imagine nothing from
that. I'd like to find something that will work on both
glazed and raw clay surfaces like the ferric.

Maybe even someone who could explain the difference between
chlorides, sulfates, subnitrates would help.

Thanks,
Brad B.

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Brad:

I personally have not done any fuming yet (although it is
on my list of things to try), so I many not be much help.

Any Readers have some ideas for Brad?

Gary F.

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Query! I obtained a very old square electric high-fire
kiln (27" X 27" od) that I want to convert to a propane
low-fire. Any feedback

Kenny

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Kenny:

This was covered in a prior issue of Just Raku. Checkout
the following issue:
http://www.garyrferguson.com/justraku18.htm

* * * * * * * * *

Gary
Thanks for doing the Just Raku Newsletter. I really enjoy
getting it each month.

I wanted to share an experience that I was afforded
recently through my participation in the Fulbright Memorial
Fund Teacher Program.

I am a high school art teacher, and the FMF program sent
me, along with 199 other U.S. teachers, to Japan for three
weeks (Nov. 14 - Dec. 3). As I write this I am actually
still in Japan learning about their educational system. We
were also given the chance to do some exploring in Japan on
our own, so I jumped on the bullet train in Tokyo and
headed for Kyoto and the Raku Museum.

This museum is located next door to the residence of Raku
Kichizaemon XV, the 15th generation Raku master, descended
from the originator Chojiro. There I saw many beautiful tea
bowls, beginning with those made by Chojiro in the 1500's.

The museum staff was very gracious and showed me and the
other two FMF'ers a video on the processes of making Raku
by the Japanese method. This was a wonderful experience,
which I would highly recommend to anyone interested in this
art form. I feel as though I have visited Raku Mecca!
For more information go to this web address:
http://www.raku-yaki.or.jp
Jeff A.

~ ~ ~

Hi Jeff:

Thanks for the info on your trip to Japan and the Raku
museum. If I ever get a chance to visit, I will definitely
try to make this part of the visit.

Gary F.

* * * * * * * * *

I fire small pieces used for magnets. Mostly, I use 80/20
Gerstley Borate and Nepheline Syenite and a small percentage
of oxides or commercial stains. Sometimes I use ^07, 06,
05 commercial glazes. What I am after is the smoke filled
crackle antique look. I learned this technique from "Mr
Raku" Billy Ray Mangham.

I use a soft firebrick flat to hold small items. Once the
glaze matures, the lightweight brick can easily be lifted
from the kiln and either set in the reduction chamber or
tilted to one side to let the pieces slide off into the
chamber.

Also, short pieces of Nichrome inserted about 3/8" deep and
perpendicular to the flat surface of a soft brick to form
mini stilts is very useful for firing small pieces at risk
of having glaze stick to the brick (small pieces need to be
glazed all the way down their sides to look good).

When the soft brick finally breaks, just put it back
together, wrap a piece of Nichrome wire around it and twist
off the ends of the wire. The brick can also be wrapped
with Nichrome wire before it's first use for Rakuing. This
helps prevent the brick from breaking and dumping some of
the pieces before getting them to the reduction chamber.
When the brick is finally ready to be trashed, save the
Nichrome wire for the next brick.

Keep up the good work,
Jerry M.

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Gary
Hey, great newsletter. Wanted to add to your bead firing
question from Bianka F.

We started our business with Raku beads and found bead
trees were not the answer. We found kick plates from
doors, had them sheared into 2" strips. One kick plate
will give you about 6 frames.

Fold these into a square and drill 4 holes on both ends and
attach the two ends with high temperature wire. This gives
you a square frame that will endure 1,000's of firings. We
grind grooves in the fame to hold the wires in place. You
then string your beads on stainless steel wire and glaze.
These frames are easy to pull and will hold about 100 beads
a firing.

Have fun beading,
Janet P.

~ ~ ~

Jerry & Janet:

Thanks for the tips on firing smalls. It seems there are
an endless number of techniques for Rakuing these small
pieces.

Gary F.

* * * * * * * * *

I do a great many horsehair pieces and have experimented
with various finishes for the pieces. Paste Wax is very
time consuming and clear spray paint turn the piece an ecru
color. I am currently experimenting with spray on wax.
Any other suggestions?

Thanks so much for giving us Rakuist a voice.
Michelle F.

~ ~ ~

Michelle:

I have not done much horsehair work yet, so I don't have
too many suggestions. Any Just Raku readers that would
care to share?

Gary F.

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Want $20 in free books from Amazon.com? Sign up for the no
annual fee Amazon.com Platinum Visa from Bank One
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* Calendar *

eBay listings are the only thing left for this year
http://tinyurl.com/tn08

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Alternative Kilns & Firing Techniques – James C. Watkins,
Paul Wandless http://tinyurl.com/72aaf
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* Click Away *

Raku Museum
http://www.raku-yaki.or.jp

Salku
http://www.ceramicstoday.com/articles/salku.htm

Just Raku Logowear
http://www.cafepress.com/justraku

Got Raku? It does a Clay Body Good!
http://www.cafepress.com/gotraku

Just Raku Newsletter Archive
The past issues can be found at http://www.JustRaku.com

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Raku: Investigations Into Fire by David Jones
Order 30% off at: http://tinyurl.com/8m5x
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JUST RAKU (C) Copyright 2002-2004, Gary R. Ferguson



P.S.