While you can get some of the trademark raku luster from using copper in your glazes, John Martin discovered that Enhancing Raku with Lusters needed a little push. Using gold and opal lusters along with copper takes his work to a new level and he describes his process.
When we think of raku we mostly think of pots that will sit on a shelf. Barbara VanSickle shows you how Making a Raku Mural gives you a chance to explore making art for the walls. Her technique is complete from design to final mounting.
Frank James Fisher says it’s not easy to be an artist. It’s enjoyable and gratifying, but definitely not easy. That’s why he felt he was Breaking Through to Familiar Ground with his current series of raku work. He relates his evolution from false starts to making work he’s involved in that matches his vision.
TIm Proud’s Nomadic Artifacts are an aura of the prehistoric. Through their allusions to endless journeys with origins and motives in an obscure past, his works condense the effect of the infinite into the concreteness of the handmade object.
Michael Gustavson has achieved Success Without Compromise with his work. To begin a vessel, Gustavson throws a 15-50-pound gumdrop-shaped wad of Soldate clay into a cylinder and then lets it spin on the wheel overnight to dry and to allow the clay particles to adjust to the new shape. Then, with rubber kidneys of various sizes and hardness, he begins from the inside, stroke by stroke, to ease and tease the walls to bow outward.
While the engineering process of making large figures for raku is a challenge, Barbara Harnack says “Drawing in the raku is a wonderful discipline for me, because it’s all the things I delight in: the drawing, the immediacy and the richness that’s possible with both of the disciplines incorporated with each other. Glazing and firing offer more layers for expressing myself.”