In Raku’s story, several stages can be identified that respond to different

types of basic structures. Identify them and relate the stages to their
corresponding structures?

1. RAKU RAKU HISTORY Raku Pottery was developed in Japan in the early 1500’s as
the Ceremonial Tea Ware of the Zen Buddhist Masters. The word Raku signifies
enjoyment of freedom. It was preferred by the Masters because of its humility,
tasteful unpretentiousness, simple naturalness, and its deliberate avoidance of
luxury...all very important to the Zen philosophy. Seldom watertight, Raku is
actually a very poor choice for a casserole or a flower vase; it is pottery without
utility or function. It is a low-fired ware with lead based glazes, and will only hold
water for a short period of time. Raku must be approached with a different
criterion in mind, like a painting or a symphony. According to the Zen Masters, its
elusive, subtle, yet vigorous beauty is Raku's only worth. It is valued because it is
believed that the Spirit of the Maker is embodied in the form and revealed at the
foot, which is traditionally left naked (unglazed). It is believed that if we are alert
to ourselves, in contemplating the Raku form, we will recognize in it our own
Spirit and Meaning. The style of pottery was popularized in the 1950s in North
America when American artist Paul Soldner adapted the process creating
beautifully and uniquely colored items that were collected and used in homes as
art pieces. The ancient art of Raku pottery has been used in Japan for centuries.
These lovely pottery pieces were used in traditional Japanese tea ceremonies.
Invented by a 16th century tile maker named Chojiro, these hand molded tea
bowls were fired and glazed forming the rustic yet elegant look that has been
passed down for 15 generations.
2. RAKU PROCESS Raku Pottery is earth derived...the firing process is unique and
daring, and in the eyes of the Zen Masters, the process truly reflects the most
fundamental rhythm of enlightened life. A once-fired (bisque), unglazed pot is first
coated with glaze and placed into kiln. The kiln is then heated to about 1,800º F at
a fast rate. It is this first tremendous heat shock which often causes a pot to
explode or to develop large "body cracks" in the clay walls. If the vessel survives
this shock, almost immediate metamorphosis begins. The entire vessel glows like
red-hot coal, and the glaze melts into a sheet of liquid glass. At this point, the pot
must endure a second shock as the potter uses tongs to remove the glowing mass
from the inferno. As the cools air outside the kiln hits the glowing vessel, the
severe temperature change produces the cracks in the glaze. These cracks are
highly prized as characteristic of traditional Raku Pottery -- they are the "proof-
marks" of the earthenware's having survived this dramatic trial by fire. Upon
leaving the kiln, the glowing pot is placed directly into an airtight container
("reduction chamber") filled with leaves, sawdust, or the like, which turns the
naked clay foot black and highlights the valuable cracks in the glaze. As if all this
were not enough, the vessel (often still over 1,000º F) may then be plunged into
 cold water to halt the process. And so the cycle of earth, fire, air and water is
complete. Raku is a daring process, and a great many pots do explode during some
phase of the firing. Those that survive the ordeal -- the test of fire -- are blessed. A
portion of the Raku history provided by the Lavey Pottery Studio
[Link]
3. Types of clay • Clay body (noun) refers to the actual clay mixture that is used in
forming objects. It might only have one specific type of clay in it, but it is more
likely to consist of a mixture of different types of clay. examples: porcelain,
stoneware, soda clay, B-Clay – high fire clay bodies, cone 10 is fired to 2335
degrees. • terra cotta, and rakuare low fire clay bodies - Please put raku scraps in
the low fire recycle garbage can. Rakuis fired to 1800 degrees • We must use a clay
body that will withstand rapid heating and cooling. That is why we use a raku clay
body, a low fire clay body. When we make conventional pottery, we know that
once the piece is glazed and put in the kiln the creative part is finished, except of
course for a skillful firing. Raku firing, however, extends our creative involvement
as far into the process as we care to go. Our eyes are always on the piece, judging,
determining, deciding, and altering. We end the firing when we see fit, without the
aid of cones or other temperature-measuring devices. We alone determine the
next steps. In addition, the rules or conventions in raku change as your
expectations change. Raku is usually more than a one person event, so you must
have helpers to facilitate the firing. ~ Steven Branfman – Raku, A Practical
Approach, 2nd Edition ~
4. BISQUE FIRING • The first firing of clay is called bisque firing. The resulting pottery
is called bisque ware. • Bisque firing serves the purpose of giving the pot
considerably more strength than it has when it is simply dried clay (greenware).
This allows the potter to handle the pot more readily without fear of breaking it. •
Bisque firing still leaves the pot porous enough that it can pick up glaze from a
suspension of blaze material in water. • Different potters bisque fire to different
temperatures (or cones), but a typical firing would be from 1700 to 1800 degrees
Fahrenheit. • Greenware (noun) is the term given to clay objects when they have
been shaped but have not yet been bisque fired, which converts them from clay to
ceramic. Greenware may be in any of the stages of drying: wet, damp, soft leather-
hard, leather-hard, stiff leather-hard, dry, and bone dry. • Examples: • Greenware
is very fragile, and must be very carefully loaded into the kiln for its first firing.

5. Glazing • Raku has some glaze effects that are somewhat typical. These include
metallic glazes, luster glazes, and other glazes that are effected by the reduction
atmosphere in the combustion chamber. Married with the smoked aspect of the
ware, raku pottery is often easily distinguished from other types of pottery. • One
of the other interesting aspects is the change a single glaze can show across the
surface of a pot. For example, a glaze colored with copper can move from blue to
red to a metallic copper sheen. These changes occur due to the change in
 atmosphere in localized areas. • Popular raku glazes at The Ceramics Center
include: raku magic, white crackle, dolphin blue, Kelsey's pear and turquoise
crackle. • Wax can also be used to block out areas that you want black. I waxed off
the leaf shapes and the top of the pot on the right. I put the pear glaze over it and
made sure to wipe the glaze off of the wax before firing.
6. Firing in the raku kiln This is the new permanent raku kiln at The Ceramics Center
The “trash can” kiln is very popular because it is inexpensive and can be
transported easily. The kilns are fueled by propane.
7. The kiln gives off tremendous heat as you can see. We must protect our eyes
when looking into the kiln to check the stages of the glaze melting. Wear shoes to
protect your feet when firing - no sandals please.
8. Reduction Reduction (adjective) refers to a kiln atmosphere which does not have
enough oxygen in it to completely consume the fuel as it burns. Due to this
deficiency, the flame pulls oxygen molecules out of the clay bodies and glazes,
changing their character. Reduction can be also be used to describe clay bodies
and glazes that are especially developed for reducing atmospheres.
9. Shapes that work best in raku! • Vertical pots • Pieces that have curves • An orb
shape We will not fire tiles or flat objects in raku.
10. The raku process still amazes me! When I am creating, I keep in mind what areas I
want to leave black. Try to design your piece with an area that will incorporate
black from the reduction process. Happy creating!