ceramicist

Copper Mesh Saggar Raku Pottery

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I was most excited about trying this technique out at this recent raku workshop, as I’d only learned of it recently and I couldn’t find many photos online of it! I purchased two different brands of copper mesh scouring pads and then unraveled the pads and wrapped the copper mesh “socks” around ferric-chloride-dipped ceramics. I then bundled it all up in aluminum foil and saggar fired them (also known as the “baked potato” method).

Some tips:

  • If the ferric chloride is still wet, it will melt the copper mesh, so ideally apply it after the ferric chloride has dried. However, that means you can’t also use sugar for additional carbonization as it gets knocked off. If you’re feeling risky, you can daub some more ferric cloride atop the piece and sprinkle with sugar but it’ll then eat away all the copper in those areas.

  • The tighter the mesh atop the ceramic, the clearer the results. Really hug the vessel tightly for the most overall effect.

  • The resulting finish when taken right out of the foil looks like a hot mess due to all the ash produced - but after you rinse the ceramics off, their true appearance is revealed!

I’ve since learned that you can just buy rolls of copper mesh (so you don’t have to go the cutting-and-unraveling-scouring-pads approach unless you already have some on hand); I may play around with that moving forward! I really like the results I got from this process. In different areas, the copper mesh carbonization marks look like fish scales (or maybe dragon scales!), chainmail, webbing, fishnet stockings, or unraveling yarn. When the mesh only is in discrete spots, its marks also contribute to a layered, graffiti-like aesthetic.

Here’s the most mesh-marked piece of the batch, a small oblong vase:

Next, a small orb:

A weird little vessel I’m calling an oddgon:

And finally a larger, sideways orb:

Honey Rakuware

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I first tried honey raku in October 2023; I didn’t really like my own results at the time, but I learned two main takeaways in the process:

  • you very much want thin strands of honey rather than thick, so that it pulls into beads rather than leaving thick streaks

  • the honey works best on convex rather than concave forms, due to its propensity to run off vs. pool inside

With those in mind, I decided to give the honey raku finish another try atop two orbs, and I brought some honey drizzler sticks and a glass along for better stream control rather than using my earlier, clumsier technique of dispensing the honey via the squeeze bottle. Rotating these while they were insanely hot was asking a lot, so I really appreciated that Wanda was up for the challenge as she did that for me while I applied the honey.

Here’s the smaller sphere:

And the larger sphere:

The resulting pieces’ exteriors were smokier than the interiors since barely any honey made it inside, and the white shining out from the insides was distracting. I carefully stained the interior of the larger orb with India ink, and then watered it down a bit before staining the interior of the smaller orb as well. I love how they turned out; the bead trails of the honey almost look like planetary maps, comet/asteroid tracking paths, or constellations… a little bit like audio visualizations.

I also decided to experiment with a blue copper glaze in combination with the honey raku on a small bowl, even though the concave interior would be a challenge. What you can’t see in the below images is twofold: first, the blue lip is complemented by a blue base line, only visible when you lift the bowl up or get really down low. Second, this piece unfortunately lost the thermal shock lottery and has a number of minute cracks which make it less structurally sound. However, since it’s a decorative, low-fired piece anyway (as opposed to being food-safe or water-tight), the cracks are a permanent asterisk - but they won’t stop me from displaying or using it!

Slip Resist Naked Raku Ceramics

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This was my first time doing slip resist naked raku ceramics, and it was definitely a learning process for everyone at the workshop, with more experimentation still needed moving forward! I did a fair amount of research the night before the workshop, and I was really glad I did. When we arrived the plan was just to do a one-step slip resist, but I had discovered David Roberts’ ceramics and wanted to try his technique. That required a two-step process (step one: dip into the slip resist, then let dry and step two: dip in clear glaze), which I convinced Wanda to let me do as well.

We began with the one-step system, but it was producing very low-contrast results for everyone. Some of them are still very cool, but I really wanted some full value finishes! As we fired the first of the two-step pieces, we saw that it was garnering better results. We’d already gotten through the majority of the slip resist pottery by then, but we pivoted the last third entirely to the two-step process regardless of whether folks wanted to carve through it. You may recall my last two pieces didn’t get fully fired, so I left them with Dakota Potters to refire another day. I recently got them back and in my opinion they’re the best of the bunch!

I put ten ceramics through the slip resist process; three were one-step and seven were two-step pieces. Unfortunately, we did find the two-step pottery were more likely to suffer casualties in the kiln. One of my two-step ceramics shattered so fully that it was just trashed there. Another blew a chunk of its side out, but is otherwise actually pretty cool so I plan to use a rotary tool to sand down the jagged edge and keep it.

Below I’ll show my eight undamaged pieces! First, two views of my first David Roberts inspired dish wherein I carved through the two-step surface to leave black lines:

Next, one view each of a one-step vase and bowl:

The below orb was also a one-step piece, but I added wax resist to the rim before dipping into the slip resist. Despite its low contrast, I think the pure black rim, the high burnish, and the shape contribute to making this one of my favorite pieces from this workshop. Here are three different angles of it:

Next, we have one image of the largest piece I fired at this workshop, and two views of another attempt at carving through the two-step surface on a small tray.

Here is the first of the two pieces I left behind to get refired - a large two-step orb!

And finally, the second of those two, an oblong vase:

Overall, I’m quite happy with these results so far, though I’d like to figure out how to regularly preserve larger white areas for even higher contrast. My burnishing was more successful on some pieces than others, but I do think it was worth the effort and I plan to continue to burnish for naked raku ware.

Obvara Orbs & Bowl

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I only fired four pieces with the obvara process this go-round, as I had run through a lot last time and I mostly wanted to learn the slip resist methods at this workshop. However, I wanted some obvara burnished pottery to compare to my previous unburnished works, and I’ve also decided my spherical handbuilt pots are a somewhat signature decorative form and so I wanted to have some obvara orbs. I did a smallish bowl as well.

The burnish was a mixed success with obvara - it delaminated in a few spots on two of the orbs during the dunking, which to my eye is kind of unsightly as the revealed clay layer beneath is bright white, so I color-matched and painted those in with acrylic. However, one orb and the bowl had no delamination accidents, and the resultant sheen on all four pieces is beautiful. Overall, I am happy with these and would be willing to burnish for obvara again.

Below are one photo of each of my three new obvara orbs and three photos of my new obvara bowl from my April 2024 Dakota Potters Supply workshop!


New Platters!

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I’ve been increasing my production of platters and plates as rolling out slabs is faster than making pinch pots. I can make two or three in the time it makes me to create one pinch pot vessel.

Here are new platters / serving dishes / display plates! As a reminder, you can click into any of the images below to see them larger, and can then page through them all in that view as well.

New Planters!

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I’ve been making quite a few planters for my own personal usage; it’d be cool to someday have my full plant collection in ceramic planters (rather than plastic)! I have hundreds of plants, so it’s a lofty goal. In addition, there’s always some amount of ceramic planter attrition due to storm/squirrel breakages so I regularly need to make replacements as well.

Here are my newest batch of planters! They all have between 2 to 4 drainage holes in their bases and the diameters range from 2-5”.

New Stoneware!

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I’ve been steadily, slowly making food-safe, high-fire stoneware ceramics as well. Here are some pieces I produced this past year which I hadn’t gotten around to publishing until now!

First we have small plates - I’ve been using them as dessert or appetizer dishes!

Next, I’ve been continuing my landscape vase series! These are “rainy” versions.

My Obvara Raku Vases

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And here’s the last batch of obvara raku ceramics from my recent workshop at Dakota Potters Supply - these are the burnished vases!

This first oblong vase was the only one that I saw and heard crack during the sequential baths. It is still usable decoratively, but it does have that asterisk about it so I likely won’t exhibit or sell it. (Note, I purposely selected photos of it that don’t draw attention to the relatively large crack.)

While at the workshop, I thought that was my only casualty - but when I was applying kitchen wax to the surfaces at home, I noticed this next squat vase has a small hairline crack as well. It’s not nearly as apparent as the above piece’s flaw as it requires close examination to spot. While a crack is never ideal, in a low-fired piece like these which was always going to be decorative (not water-tight nor food-safe), it’s far less problematic than it would be in a piece intended for that kind of usage. I’ll probably keep this one myself!

The rest of the below vases are completely unblemished. This little bud vase is the smallest of the bunch.

Next we have a larger, somewhat soft rectangular vase!

And finally, a somewhat flared cylindrical vase.

I hope you’re as into the obvara pieces as I am. I really like the aesthetics this process produces - but more than that, from a conceptual standpoint I love the organic chaos that creates those aesthetics.

My Obvara Raku Bowls

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Here is the first batch of my obvara raku pieces from my Dakota Potters Supply workshop on October 21, 2023 - I made enough that I plan to publish three posts covering the artwork! This post shares my obvara bowls and bowl-like vessels.

Again, as background, obvara is a low-fire scalding-and-sealing process wherein you create a fermented sourdough/beer bath, plunge approximately 980°C naked ceramics fresh out of the kiln into it, wait for them to start to bloom with different tan-to-brown markings, and then arrest the surface carbonization process by rinsing the pieces off in a water bath.

The obvara process itself scalds and somewhat seals the surface of the pottery, but I went ahead and added a thin layer of kitchen wax to these pieces as well for extra protection and sheen unification. All of the below images in each gallery row are of the same artwork from different angles.

This first open bowl has a smooth surface!

This second piece is another open bowl, but this time the surface has some light texture as well as a more variable form.

This third piece is smooth and a bit more closed, though there’s a quite variable lip. All of the pieces I’ll be showing you are handbuilt, pinch-pot designs.

Next we have another smooth and even more closed vessel! This one was a favorite of my fellow workshop attendees; they loved how the obvara surface turned out.

While you can click into each of the above images to see them larger, I want to close this post out with just one large image of the last smooth bowl I made!

An obvara raku handbuilt bowl by artist Shelby Prindaville.

My Favorite Ceramic I've Made Yet: My Last April 2023 Raku Saggar Piece

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I have a lot of my own ceramic pieces that I love, and there are a number of those that I plan to keep for myself for the foreseeable future! I’m pleased with each of the ceramics that came out of my recent April 2023 raku workshop; that work spans the realm between good to fantastic. One piece I made is my favorite ceramic I’ve made yet, though, which is a hurdle that was relatively easy to pass when I was a beginner back in early 2020, but is now a much rarer event.

This piece, like the others in this series I’ve made, was dipped in three coats of ferric chloride, wrapped in Muehlenbeckia axillaris or Creeping Wire Vine and then aluminum foil, and saggar-fired in a raku kiln. It is finished with kitchen wax.

Ceramic glazing in general is a lottery; there are a lot of variables and some are outside of your control. I think I won that lottery with this vessel!

April 2023 Raku Crackle and Saggar Ceramics

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This is my second post reviewing my April 2023 raku workshop ceramics! This one will cover two of my three “baked potato” aluminum foil saggar-fired ceramics and my clear crackle piece.

Based on my experimentation using plants at my April 2022 raku workshop, I only had real luck with saggar firing Muehlenbeckia axillaris, colloquially known as Creeping Wire Vine. I therefore used it again! Below is a plate that was dipped in three coats of ferric chloride and then wrapped in the vine and then aluminum foil and fired. The Muehlenbeckia axillaris impact is relatively subtle because it mostly went white to medium gray, but the plate overall turned out well. The very first time I did this “baked potato” technique, I used a matte clear acrylic spray. The second time, I went with gloss. I didn’t really love either, so this time, I went with applying a kitchen wax. I really like the way the wax looks, so I think that’ll be the winner moving forward!

Next, I did the same process with a vase - on this piece, I also sprinkled just a little sugar on as well for some small-scale spotting in the design. This one’s interesting as the Muehlenbeckia axillaris is more apparent, and it produced the full value spectrum on the same vase; the top vine piece is white to light grey, while the bottom vine carbonized a lot more and turned medium grey to black.

And finally, I chose to do a clear crackle on a small, necked vase. Handbuilding necked vessels is tricky, and I complicated matters with this piece by leaving my building process evident on the outside to contribute texture (while smoothing it for structure and stability on the inside). This was quite risky; I knew there was a good chance this piece could crack or break with thermal shock due to the thinner seamed areas. However, I was fortunate - it made it through the firing completely unscathed! I wanted to enhance the seams and stress spots that I had intentionally retained, so I painted over each of them and the lip of the vase with wax before glazing with Clear Crackle on the exterior. As I’ve explained before, this means the glaze doesn’t stick to the waxed areas, and the wax burns off in the kiln. The exposed, unglazed clay body then carbon traps the smoke in the post-kiln reduction atmosphere, turning a dark, smoky grey. I finished the piece by putting kitchen wax on the unglazed areas.

Again, none of the “cracks” in the below piece are structural - they are all decorative and this vase is fully sound.

April 2023 Raku Copper-Glazed Ceramics

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I’m going to do a few different posts about my April 2023 raku workshop pieces because there’s a lot of good work to share. In this first one, I will review my copper-glazed pieces!

Below is a platter, which has some texture on its surface; I imprinted an equine femur into the clay body thanks to bones I was allowed to keep using from the LSU SVM anatomy lab. I first glazed it with White Crackle, then wiped the white crackle back down so that it stayed in the impressions, and also applied it to the rim. Then I glazed over the top with Copper Sand. I thought this would impact the coloration, but the white crackle (at least at that thickness) only really affected the sheen; where it was applied the glaze is glossy rather than matte. Though it’s not precisely what I envisioned, it’s a strong piece.

Next, we have a small, leaning vase. I chose to apply wax to the rim and throat. Then I glazed the exterior with Copper Sand, keeping in mind that the glaze doesn’t stick to the waxed areas. In the kiln the wax then burns off, allowing the unglazed clay body to carbon trap the smoke from the reduction afterwards. I was planning on staining the raw clay, but I ended up holding off as the variably smoky surface is interesting in its own right. I need to actually decide, as I will want to wax the raw surface if I don’t stain it.

This is probably the biggest of my raku pieces this go-round. This vase vessel has Litho Carb on the inside and Copper Sands on the outside. (I really like Copper Sand as it’s pretty predictable in its behavior for me, which is a rarity when doing raku.) The interior lip has an abalone-like appearance!

Next, we have my “golden bowl.” This piece is glazed with Dakota Potter’s new Peacock on the interior, and once again uses Copper Sand on the exterior. One of my students kept hovering her hands above it and singing reverential “aaah” noises!

And below is my final copper raku piece of the workshop! This one is an oddball shape; I wanted to push myself to make some handbuilt, necked vessels and in doing so created this flora-inspired vessel. I glazed it with Litho Carb on the inside and Midnight Luster on the outside.