- Paperback: 96 pages
- Publisher: Kodansha International Ltd (27 Jan. 2004)
- Language: English
- ISBN-10: 477002973X
- ISBN-13: 978-4770029737
- Product Dimensions: 25.9 x 1.5 x 18.5 cm
- Average Customer Review: 5.0 out of 5 stars See all reviews (1 customer review)
- Amazon Bestsellers Rank: 1,951,406 in Books (See Top 100 in Books)
Building Your Own Kiln: Three Japanese Potters Give Step-by-step Instructions Paperback – 27 Jan 2004
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About the Author
HIROMI ITABASHI is best known for his abstract ceramic sculptures. Itabashi's apprenticeship began with participation in archaeological digs on traditional pottery sites in Korea. After studying local traditions in Gifu Prefecture, he joined the studio of master potter Keiji Ito. He opened his own potter studio in Mitaka, Tokyo, in 1980 and began teaching at Tama Arts University in 1999. He has taught and exhibited widely overseas, and received numerous awards in Japan and internationally. ROPPO TAMURA began his training in the late 1970s as an abstract painter in oils, but he gradually turned his attention to sculpture and finally to the creation of ceramic objets. He built his first kiln, a noborigama, or multi-chambered climbing kiln, in Nagano Prefecture in 1982, where he was studying pottery under the direction of potter friends. In 1985 he built a single-chambered anagama kiln, which, though smaller, he realized was better suited to his needs. At this time he was still experimenting with various different types of pottery-creating plain and undecorated functional ware and objets that made use of natural ash glaze, and also artificially glazed Shino ware. He moved to Yamanashi Prefecture in 1991. NAOKI KAWABUCHI began making pottery in 1974 and has gained an international reputation for the originality and creativity of his undecorated stoneware, and in particular for his ware done in the Nanban style. His work in the Iga and Shigaraki traditions is also highly regarded. In one of his individual shows, Kawabuchi exhibited an astonishing 10,000 individual tea bowls. Apart from a year spent studying earthenware firing techniques with a master potter, he is largely self-taught.
Top Customer Reviews
Most Helpful Customer Reviews on Amazon.com (beta) (May include reviews from Early Reviewer Rewards Program)
There are some pitfalls to using slotted metal as the frame for the kiln, as squaring the structure becomes difficult if your holes don't line up perfectly. Better material would be straight iron stock with welded square stock that threaded rod could be passed through for a really tight fit.
The major criticism I have is the lack of information provided on firing, so this is not for potters unfamiliar with gas firing theory. The burner described is generic, and the use of only a pyrometer to determine whether temperature has been reached is ill advised. The plans do not allow for peep holes, and no measure of heat work without cones has you guessing at the end of the firing. Highly recommend running a load of test pots, not stacked too tightly, with cone packs in front, back and middle to determine where temperature variances are.
Pictures of stack show shelves tight up against sides and burner/flue end, and this does not provide a lot of heat distribution, so I'm still working on shelf size variations to see if I can get to Cone 9/10 in 5 hours. Would not reccomend placing a shelf directly on the bricks as shown. There is room for posts in the design, placing shelf directly on brick cracked the shelf at high temp on the second firing.