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PIT

This way of making pottery as you can guess from the name is a synthesis of several techniques: the cooking primitive wood-burning fire pit cooking Saggar firing raku and those in containers.

After many experiences fire pit, we wondered if we could get the same colors and shades without creating trenches or pits and burning large quantities of wood, research over many months has led us to another technique the test firing, but even if this does not provide holes etc.. is definitely not very controllable and very long during baking and cooling.

The solution was to combine the technical use of carbonates and sulphates of the fire pit and organic materials of the test firing all together, we can cook it in an ordinary oven raku in a couple of hours, so we can reach temperatures that allow even the use of enamel, we can extract the artifact from the oven without any problems and to intervene with smoking hair etc..

clays that can be used for molding are different I would say all those that contain a minimum of grog, in particular, I prefer white stoneware with inert thin type K 123 wbb but it works well even an ordinary clay raku.

When the artifact reaches We can flatten the hardness leather thoroughly (do not rub) and pass a first coat of earth to get that sealed pond using the same molding clay with an addition of ball-clay, total steps will be sealed for three or four (depending on the density and the type of clay used).

When our subject we will polish it dry with a soft cloth or chamois, the biscuit is between 950 ° C-1000 ° C (it is important to establish the vitrification point of the microporous necessarily must remain sealed).

The decoration of the building requires a minimum of precautions (gloves and mask) as for this technique as for the fire pit and the test firing will be used sulfates, chlorides, carbonates and salts, all of which are toxic by inhalation and, shades of gray to get the plant material previously immersed in sea water or salt water, is important to have good contact with the surface of the object.

The raku kiln firing takes about two hours with a climb up to about 350 ° C in one hour, the cooking temperature to achieve a good result is 970 ° C, cooling if you do not want to intervene smoke in the hair I can do it in the oven otherwise extract the artifact at 600 ° C. The single-fired

not sono consigliate per la velocità di salita del forno ma è anche vero che nel pit fire pochi adottano questa soluzione in quanto si rischiano molte lesioni e scrostature delle superfici trattate con le terre sigillate.

Decisamente per chi ama le tecniche primitive questa riesce a soddisfare le nostre aspettative con il minimo sforzo.

Roberto Aiudi, Luigi Montereali.

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RAKU Ceramic course NAKED RAKU-RAKU PIT 8-9 - 10 - 11 - August 12 to 13 Course



La durata del corso è di sei giorni per un totale di 48 ore di insegnamento teorico e pratico, tutti i giorni from 9 am to 13 from 15 to 19.
Program: Introduction
techniques.
tooling plates for the sampling of the various effects.
shaping of 4 items of medium size and technical colombino plate.
splint. Preparation of microporous
sealed earth.
Preparation and crystal suitable for posting naked and pit technique.
decoration products to spray, spray, reserve, graffiti.
Decoration with sulphates, carbonates etc..
raku kiln firing.
Course fee € 300 including materials.

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ceramic RAKU SWEET 22 - 23-24 July



The course duration is three days for a total of 24 hours of theoretical and practical, every day from 9 am to 13 from 15 to 19.
Program: Introduction to
technique.
tooling plates for sampling of the sealed lands.
tooling 2 items of medium size and technical colombino plate.
splint. Preparation of microporous
lands and sealed glazing.
Decoration artifacts in perfusion, reserve, graffiti.
raku kiln firing.
Course fee € 220 including materials.

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Course ceramic RAKU-RAKU PIT 20 - 21 - 22 May.


Course ceramic RAKU RAKU-PIT 20 - 21 - 22 May.

The course duration is three days for a total of 24 hours of theoretical and practical, every day from 9 am to 13 from 15 to 19.
Program: Introduction to
technique.
tooling plates for sampling of the various effects and enamel.
tooling 2 items of medium size and technical colombino plate.
burnishing, finishing. Preparation of microporous
sealed earth.
Preparation and crystalline glazes.
decoration products to spray, spray, reserve.
Decoration with sulphates, carbonates etc..
cooking pit and raku raku raku
cooking in the oven.
Course fee € 250 including materials.

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NAKED RAKU Ceramic course 18 - 19 - 20 March. Advanced technical ceramics


NAKED RAKU Ceramic course 18 - 19 - 20 March.

The course duration is three days for a total of 24 hours of theoretical and practical, every day from 9 am to 13 from 15 to 19.
Program: Introduction to
technique.
tooling plates for the sampling of the various effects.
tooling 2 items of medium size and technical colombino plate.
splint. Preparation of microporous
sealed earth. Preparation and crystal
release suitable technique.
decoration products to spray, spray, reserve, graffiti.
raku kiln firing.
Cost of course materials including € 220.

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RAKU PIT 21 - 22 - 23 January.



The course duration is three days for a total of 24 hours of theoretical and practical, every day from 9 am to 13 from 15 to 19.
Program: Introduction to
technique.
tooling plates for the sampling of colors and different effects. Forming properties of 2 medium-size and technical colombino plate.
splint. Preparation of land
sealed.
smoke tests using different materials leaves, straw etc..
color tests with the use of carbonates, salts, etc..
decoration products.
raku kiln firing of the articles. Cost of course materials
including € 220.

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For about a hundred years, between the 1st century. a. C. and the 2nd AD, flourished in the Roman world a particular pottery production, definitely the most interesting, called "Terra sigillata from Arezzo. The term terra sigillata refers to a type of ceramic tableware featuring unique powers: clay, covered with a purified and very beautiful "paint" coral.

The surface is often decorated with relief depictions of great craftsmanship and the presence of cartouches with the names of the authors, called "seal."

The center of this production was greater Arezzo, where dozens of shops released large quantities of manufactured goods.

The term "sealed earth" today is used to define a glazing ceramics painted with slips. These special coatings can be obtained by separating the clay and coarser than colloidal.

generally choose plastic clays ferrous very high in sodium and potassium.

Rainwater, sodium salt and clay are the ingredients to achieve terra sigillata:

after drying the clay to finely crumble, preferably in a transparent container dissolve approximately 5 calgon grams in one liter of water, we will introduce the clay and mixed vigorously after we let it settle for 8 hours.

In our mixture the finer particles are separated from the coarse

With a tube we're going to remove the suspended solids that will be easily visible through the transparent container, the material will get a set of elements and sodium salt of nature Potassium (fluxes), silicates and possible iron oxide.

A good ground must be sealed in shiny waxy crude.

raku The sweet is the technique where there is an obvious contamination of the Mediterranean to Japan's ceramic culture. For

this sensitive technique using mainly non-calcareous clay with a white grains of chamotte thin or absent.

stages of shaping and finishing are essential for the success of the article, in fact, ill-finished objects give rise to defects dell'ingobbio vitrification. For this reason it is recommended to round the edges and fences fine objects.

The first step of earth will be sealed to the bottom and the next steps will be the same type of clay which is fashioned the piece is necessary that the temperature of cooking shows microporous.

The next step involves the application of glazing is not sealed, and not smoked. If we want we will use a white terra sigillata pottery, or for a common yellow orange clay or earthenware baking dish. Once the decorative phase

the artifact should preferably be cooked in an electric kiln to 1000 ° C, with a second firing at about 600 ° C oven raku're going to smoke in the work, using thin damp sawdust. Parts of microporous slip immediately and blackening the surface of our object will present a blackened texture of quibbles, due to "rupture" of the thin layer of terra sigillata.

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SWEET NAKED RAKU RAKU RAKU

This variant the naked raku is very interesting for areas that can be obtained.

clays that are used are fine-grained (0.5) even for the shaping of large objects, this is possible thanks to a cooling procedure which does not require immersion of the article in water, so the thermal damage will not be violent from the object.

To obtain a smooth surface after the artifact is important engobe fashioned with the same clay used in building, sifted with a sieve normal enamel.

The first step must be given a slip of hard leather with a large flat brush and then smoothed with a soft plastic spatula, the same operation must be repeated after about two hours.

After ingobbiatura our object should be smooth to touch and not have to see the grains of chamotte.

The first firing must be done at a higher temperature than 990 ° C raku classic this to get a cookie with a good compactness.

Having superimposed the crystal to release (a mixture of quartz and kaolin) could scratch the surface with the aid of a stick of wood sharpened, we recommend the bamboo, the incisions should be deep up to the cookie in this way we get Signs driven.

After a normal raku firing the product must be immediately removed from the oven and laid on a bed of sawdust possible fine and dry and then covered with a sheet size bin proportionate to the object, the time spent in the smoking reduction is important for the integrity of the building, after having moved away with a strong abrasive sponge and detergent, we will remove the posting remained attached to the surface.

to get a smooth semi-gloss much like we treat the alabaster with fine sandpaper and wet. To maintain the effects

del'affumicatura we recommend a good pass liquid wax floor diluted with water.

An interesting variant of the technique is naked that involves the use of land sealed. The first

steps up to the second layer of slip are the same, perfectly dry piece of land we have to pass two sealed microporous derived from settling of the same clay used for shaping.

The biscuit temperature should be lower than 950 ° C by doing so we will keep an open microporosity, able to smoke very noticeable.

In this case the use of sandpaper is obviously to be avoided.

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Surely nowadays is the most popular variant of Raku ceramics in the world, many mistakenly believe it is the traditional one, but as we saw earlier is a fusion of Raku pottery and American culture.

This technique is always full of fascinating special effects of texture data from quibbles smoked and shiny metal, we can summarize the various operations in a few points:

· shaping of the building with a clay with a good resistance to thermal shock.
· biscuit ad una temperatura non troppo elevata (950C°- 1000C°).
· Smaltatura.
· Cottura Raku (1 ora circa).
· Estrazione dal forno.
· Riduzione o affumicatura.
· Raffreddamento in acqua.

a limit if it is considered that the ceramic Raku is the excessive randomness of the result, to avoid the use of this advice glassy coatings easily controlled with a relatively low melting point (900 ° C), industrial enamels and clear many times in this technique is not very convincing, especially if you are short fuses prefer the least toxic substances (alkaline).

Have a balance and raw materials is certainly the most appropriate approach to get a good Raku.

Another problem of this technique are broken due to temperature variations to which the artifact is submitted.

We must always remember that the clay at 573 ° C undergo a reversal of quartz, in fact, lesions of the building is almost always at these temperatures, a fatal mistake is to gradually expose the subject for fear that the 'Cold water can cause breakage, so that would create tensions in the body clay.

Before we turn out more and procure a metal bins for sawdust and a water tank of a size suitable for the artifact to be cooled, it is important to the reduction in smoking or in the shortest time possible so that the temperature of the object does not get too close to the reversal point, the immersion in water should be in a decisive manner, another solution is to leave the artifact inside the chamber without interfering with the reduction of water In many cases, especially for crystalline and craquelle naked raku work, to get the metals are likely the oxidation of the glassy coating.