I had a nice little round of Raku this past week. Among other odds and ends, I fired three drums intended for my 'Last Chance to See' project.
Just as a quick re-cap, 'Last Chance to See' celebrates a set of critically endangered species. I'm making twelve indigenous musical instruments from the natal countries of these beasts.
For a general overview, see my original project overview. For some musings on the specific drums that I'll be talking about in this entry, go here.
Just as a quick re-cap, 'Last Chance to See' celebrates a set of critically endangered species. I'm making twelve indigenous musical instruments from the natal countries of these beasts.
For a general overview, see my original project overview. For some musings on the specific drums that I'll be talking about in this entry, go here.
Unfortunately, one of the pieces that I was most excited about shattered- literally shattered- as I was lifting it out of the kiln. Always exciting to dodge shards of 1700 degree ceramic (especially when it's 90 degrees out, and your legs are bare).
Raku is a hit-miss sort of proposition, unfortunately, and some catastrophic losses are inevitable. This piece may have been structurally compromised because it was a composite vessel (two pieces joined together). It was also over three feet tall... and there seems to be a correlation between size and failure rate in raku.
It's too bad. I threw a couple chunks in the reduction chamber for giggles, and they came out looking quite tantalizing. The also offer an interesting perspective on the difference between reduced and oxidized raku glazes... note the contrast in the photo in the right.
Anyhow, it looks like I get to do more gorillas!
Raku is a hit-miss sort of proposition, unfortunately, and some catastrophic losses are inevitable. This piece may have been structurally compromised because it was a composite vessel (two pieces joined together). It was also over three feet tall... and there seems to be a correlation between size and failure rate in raku.
It's too bad. I threw a couple chunks in the reduction chamber for giggles, and they came out looking quite tantalizing. The also offer an interesting perspective on the difference between reduced and oxidized raku glazes... note the contrast in the photo in the right.
Anyhow, it looks like I get to do more gorillas!
Fortunately, one of my other drums (a conga with a white rhino design) came out looking pretty spectacular (if I'm allowed to say such things). I'm quite delighted with the balance of the design... it has a certain massiveness that evokes the organism.
Factor in the subtle interplay of color, and I think it's one of the nicest things I've done in Raku.
It also sounds staccato and brash, and plays beautifully.
Factor in the subtle interplay of color, and I think it's one of the nicest things I've done in Raku.
It also sounds staccato and brash, and plays beautifully.
I'm a little less thrilled with the other conga... in part because I'm less pleased with the basic form, and in part because I think the proportions are a bit off. Oh well.
On the whole, it was a very successful firing. I won't show all of the pieces, but I was particularly pleased with this planter.
Raku is infuriating, in that it sometimes yields serendipitous and wholly inexplicable results.
Why, in this particular case, did I get the copper flashing in the interstitial spaces between the carved lines? The effect highlights the design brilliantly, but I'm baffled as to how to replicate it.
Raku is infuriating, in that it sometimes yields serendipitous and wholly inexplicable results.
Why, in this particular case, did I get the copper flashing in the interstitial spaces between the carved lines? The effect highlights the design brilliantly, but I'm baffled as to how to replicate it.
Just to briefly mention a few ongoing projects... I'm currently finishing an improved version of the fountain design I commented on in my last entry.
Aside from being larger, this version features a broader basin (to better display rocks or other found objects). It also has a sharper, steeper lip for the pour-over from the top vessel, and should thus be more of a cascade and less of a dribbler.
Aside from being larger, this version features a broader basin (to better display rocks or other found objects). It also has a sharper, steeper lip for the pour-over from the top vessel, and should thus be more of a cascade and less of a dribbler.
Finally, my pop (who's a garage sale hound extraordinaire) found me a lovely coffee table for 15 clams. After taking out the 10-inch glass panels, I'm going to fire a set of tiles and grout them into the top.
I haven't decided yet whether to make the tiles themselves in raku or hi-fire... I'll probably make four of each and them decide.
Tiles are harder then you'd think. If you're not careful, they crack and warp like cane toad licking Australians. I've figured out that it works best to throw slabs on the wheel and then cut them to size.
Updates as things move forward.
I haven't decided yet whether to make the tiles themselves in raku or hi-fire... I'll probably make four of each and them decide.
Tiles are harder then you'd think. If you're not careful, they crack and warp like cane toad licking Australians. I've figured out that it works best to throw slabs on the wheel and then cut them to size.
Updates as things move forward.
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