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JUST RAKU
The Newsletter for Raku Artists and Raku Art Lovers
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March 2005
Issue #29
Published by
Gary R. Ferguson – Raku Artist
http://www.garyrferguson.com
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In This Issue
* While the Smoke Clears – Feedback on Last Issue
* From The Studio – Axner at NCECA
* Article – Overcoming Artist Block (Part I)
* Tips/Techniques – Roofing Torch
* Q&A – Bisque Firing in a Raku Kiln
* Glazing – Do I really need to fire in reduction?
* Reader Feedback – What you said...
* Click Away – Raku on the Web
* Workshops, Ads, etc.

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* While the Smoke Clears *

Welcome to another issue of Just Raku.

I want to thank everyone for the wonderful responses I
received in regards to the "Reader Feedback" section of the
last issue. You all pretty much responded with what I
really wanted to say, so I figure I was not far off on my
feelings.

I won't be publishing this feedback in the Just Raku
newsletter, but I did want to thank each of you for your
responses and for letting me know it is ok to keep doing
what I'm doing.

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

Gary R. Ferguson
- Raku Artist –
pottery@garyrferguson.com

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Open a new eBay account by clicking on the link below and
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* From the Studio *

Well this is the month for NCECA in Baltimore, but I'll be
home unfortunately. If you are lucky enough to be
attending, check out the Axner booth while you are there.
Axner pottery has started carrying my books and they should
have copies of both of them (Raku Glazes and Raku Secrets)
available at NCECA.

If you are unable to attend, but would like a printed-paper
version, they can be ordered at:
Raku Glazes http://www.cafepress.com/gotraku
Raku Secrets http://www.cafepress.com/rakusecrets
Or if you would like the eBook versions they are still
available at:
http://www.rakuglazes.com
http://www.rakusecrets.com

NCECA next year is in Portland, OR – my neck of the woods
so there is a good chance I'll be able to attend next year.

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* Article *

Overcoming Artist Block (Part I)
By Gail Miller

How many times does an artist stare down at that blank
piece of paper thinking "What on earth do I paint - Where
do I put my first mark?" More often than you would imagine!
It happens to all creative people actually, from visual
artists, designers, poets, through to musicians and
writers.

When this situation arises, you are in the grip of creative
block. When you wrack your brains to come up with ideas but
just can't seem to. There may be contributing factors to
this state, such as tiredness, depression, environmental,
physiological or psychological issues. On the other hand
you could just be experiencing a period of simple low
creativity.

When this happens there are a few things you can do to
restore your creativity levels at will, however what you
must not do is worry or fret about it. If the worst comes
to the worse and you don't seem to be able to produce any
work, simply regard the period as a 'holiday' or a rest.
Your creativity level WILL rise again. In the meantime,
utilize the time spent not creating to do positive things
anyway.

Research other artists' work. Visit galleries or surf the
net and see what other people are doing. Join artists' chat
rooms or visit message boards or forums where you can
exchange ideas and views with other artists. Just talking
to other creative people can give you a real buzz! You
might even make some new friends in the process.

Spend the time you are not actually producing art, by
increasing your marketing efforts. Send postcards to
galleries; research upcoming local art fairs or events
where you could possibly take a booth to sell your art.
Have some leaflets or brochures printed up all about
yourself and your work. Take a couple of days out of your
schedule and do a local neighborhood leaflet drop.

Update your website or online portfolio. You may think it's
already perfect but it's not often that things can't be
improved or sharpened in some way. Update your artist's
statement; put new 'zing' into your descriptions.

If you really can't face doing anything concerning your own
artwork, visit the theatre, go to a pop concert, and browse
local museums. Go to a restaurant or coffee bar with
friends and have a (non art related) natter.

Use the time to take a complete break, if this is what
works best for you. You will instinctively know when the
time is right to 'go back' to your art. When this happens
there are lots of techniques you can use to get back into
the swing of high creativity. These I explore in my article
'Overcoming Artist's Block (part 2)'.
---
Gail Miller is a professional artist whose artwork is a
visual feast of color and fun. Her fascination with bold
colors and fluid, expressive shapes and line are evident in
funky abstracts, sinuous nudes, vibrant still life
paintings and lively townscapes. Visit her website at
http://www.gailmiller.com

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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 *

Can I use a roofing torch to fire my Raku kiln?

I've never used a roofing torch before, but I think I know
what you are talking about.

I think this would work ok as long as your kiln was not too
big. I'm not sure how many BTUs this type of torch creates,
but as long as it can heat your kiln to the correct
temperature (fast enough) it should be fine.

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Did you get everything you wanted for Christmas? If not,
Amazon sells more than books! Help support this newsletter
by using the following link: http://tinyurl.com/x5xa
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* Q & A *

Q: Have you had any experience with bisque firing in a Raku
kiln? Instead of having to wait until you have enough to
fill an ordinary kiln and then having to wait for the kiln
to heat up and to cool down before you can get your bisqued
ware, it would be great to just bisque fire small portions
fast in a little Raku kiln. I know this can be done but
what do you recommend regarding temperature and for how
long should you keep the temperature on top?

A: You could Bisque fire in a Raku kiln, but I think you
would want to follow the firing speed and temperatures that
closely match a regular bisque firing. Greenware is very
fragile and there is always more water that has to be
burned off during a bisque firing, so you would need to be
very careful for the greenware to survive. The stress of a
Raku firing is tough enough on bisqued pieces let alone
greenware. But, I would assume there are types of pieces
you could do this with - small, even, thin walled pieces,
that are very dry could be a candidate, but I would not
attempt it with larger, thick walled pieces.

This is why once-fired Raku is not very popular.

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

Occasionally there is a mention of in-kiln reduction during
a Raku firing. I have attempted this but the results seem
no different than post fire reduction when I reduce for
about ten minutes. Can you offer suggestions as to
duration, etc. Also do you know a source for stannous
chloride?

True, not all glazes will react drastically different with
kiln reduction versus post-kiln reduction, but there are
some differences, and exceptions.

In-kiln reduction could potentially be much stronger and
have a different result on copper based glazes, especially
when layered.

For example, one technique to get "Red" is to layer copper
carbonate between layers of clear crackle and then fire in
heavy reduction. The kiln reduction is supposed to help
"draw" the red from the copper through the layer of clear
crackle. A deeper reduction so to speak. Where as with
just post-kiln reduction, you normally get surface level
reduction and are more like get copper colors instead of
red.

I've never achieved a really good Red using this technique
yet (only tried it once or twice), but it is supposed to
work.

For most types of specialty chemicals, I'd give US Pigment
Corp www.uspigment.com a try.

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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 *

Hi Gary,
Can you tell me in what issue I can find information on
Naked Raku? I've been looking through each issue, that I
have, one by one and my eyes are now teasing me.

I love receiving these e-mails.

Thank you in advance for your assistance and your devoted
work for all us
potters.

~ ~ ~

Actually I have not had a Naked Raku issue yet, but I'm
sure there will be one in the near future.

Thanks,
Gary F.

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Hi Gary,
I need a little help if you don't mind. I am attending a
Raku workshop at our local community college. The college
provided clay, prepared by ceramics students, for all
workshop participants. The clay is nothing short of gumbo.
It is useless for hand building, which is what I wanted to
do. My question is can I use my own clay, purchased from
Highwater Clays? One is a cone-10 clay that is supposed to
have high thermal shock values. I do have Cone 06 and
Cone 6 clays. I searched the Clayart archives, but can't
gather much info there. Any advice you can give me would
be highly appreciated.
Thank you,
Sheron R.

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Hi Sheron:
The simple answer is yes, you can use any clay that can be
fired to cone 06 or higher. I would recommend using clay
that can be fired hotter (cone 6 or cone 10 for example),
but the clay does not have to be called "Raku" clay to be
Raku fired.

I personally use a Cone 10 stoneware clay for most of my
Raku work.

Thanks,
Gary F.

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Dear Gary,
I am enjoying the e-books. Wish I had them when began Raku.
I would have saved much frustration. But I did learn quite
a bit on my own. Thanks for all the information!

First, I have done many Raku glaze samples and would rather
not get any more ingredients than I already have so of all
the white or clear glaze recipes in your book, is there one
that you would say fires more matt than the others? I do
not like shiny.

Second, you talk a bit about salt (pg 116) being introduced
near the end of the firing. I am not wild about putting
salt in my nice new Raku kiln. Have you or anyone put it
in the reduction chamber or soaked the combustible material
in salt? I am going to give it a try, but would like to
hear from others.

Thanks again for your excellent newsletter.
Pam

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Hi Pam:
I wouldn't be that excited about putting salt in my brand
new kiln either, but then again people buy/build brand new
salt kilns. Go figure! :)

I'm not sure how the salt soaked reduction materials would
work. It might not be hot enough, long enough to actually
fume the pieces, but I would love to hear how it works out.

I have not tried to actually fire a matte white before, but
I do know several of the clear and white glazes when
slightly under fired will be matte (discovered this by
accident of course). Give that a try.

Thanks,
Gary F.

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Dear Gary:
I have been a student of pottery for the last 27 years and
I have started out with very humble beginnings. Thru the
years I have never given up on my love of this medium. I
have fired my work in many different ways. The last 4 years
my work has taken a new turn; pit firing has been my
passion. I have in the past taken workshops in Raku. And
finally have started on a new journey into the Raku
process. Having invested time and money into equipment,
kiln, tongs etc. At the Fear and concern of my husband, he
thinks I am going to blow up the neighborhood using my
propane burners. Well, pit firing was fun, the fire
department made a few stops by my house. Any way I am very
safety conscience and I would like to know where I can find
Heat Shield face gear to protect my face during the loading
and unloading of the kiln. I would be very pleased to hear
from you. And Keep up the good work.
Diane K.

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Hi Diane:
I got my face shield at a local farm supply store. I think
it is primarily used for shielding the face from flying
debris (like wood chips, etc.) but it keeps the heat off
your face pretty well. It is made of plastic and was less
than $20.

Good Luck!
Gary F.

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Hi Gary,
I enjoy reading your newsletter. The ideas and hints really
help stimulate my creativity. In your last letter you
mention the Rick's Turquoise glaze and how amazing you feel
it is. Could you please tell me the recipe for it or where
it can be viewed (your archives or website?).
Thanks again,
Tim

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Tim:

Check out the following back issue:
http://www.garyrferguson.com/justraku18.htm

Thanks and Good Luck!
Gary F.

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Gary:
What does GRF mean when listed at the top of your glaze
recipes?
Thanks
Kent

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Kent:
GRF are just my initials (Gary R Ferguson). This was to
note that the comments about the glaze are from my
experience. Some of the comments on the glazes come from
the original source of the glaze.
GRF :)

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

My eBay Listings http://tinyurl.com/tn08
Just Raku Blog http://justraku.blogspot.com
Just Raku Logowear http://www.cafepress.com/justraku
Got Raku? http://www.cafepress.com/gotraku
Just Raku Archive http://www.JustRaku.com

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Raku – John Mathieson http://tinyurl.com/3f5yh
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* Workshops, Ads, etc. *

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For more details and some general saggar firing tips and
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or http://justraku.blogspot.com/2005/01/saggar-workshop-in-
arizona.html

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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 2002-2005 Gary R. Ferguson