David,David R. wrote:And yes, red here means oxidation baking.
If you don't want to drive a huge portion of us potters nuts
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best,
.............john
David,David R. wrote:And yes, red here means oxidation baking.
Hi John,JBaymore wrote:David,David R. wrote:And yes, red here means oxidation baking.
If you don't want to drive a huge portion of us potters nuts...... please use the term "firing" (or for some even the term "burning") rather than "baking" for how we finish pots.
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best,
.............john
I did brew an organic Oku Midori from O-Cha in it yesterday. It is hard to draw a conclusion since this was organic however. I will use it almost every day for a period and see what I think.GARCH wrote:And Chip thank you for the advice in brewing sencha as well as the photos! Is it normal for the clay to darken over time? It looks pretty cool thoughChip wrote:Tachi Masaki rough clay version of Shigaraki. Showing some age in variable darkening ...Like a part of it is baked reduction style. Are you breaking it out to test it's effects on sencha again??
Wellll, yes and no. For the short term you can experiment, but for now perhaps avoid any tea that is toasty, roasty, and definitely not scented in any way. Avoid any "grain teas."David R. wrote:Very nice pot ! Don't refrain from anything and use it gladly. Brewing different kinds of tea in it won't kill your teapot. Worst case scenario, there are means to "reset" your pot. But one should not refrain from using a pot he/she loves.
From your description I think you are refering to something called richi-hada..... "pear skin". I'd need to see a picture to be sure of exactly what we are talking about. In different regions of Japan, different potters sometimes use similar terms to describe different effects. So terminology can be difficult sometimes.GARCH wrote: Hi John,
Sorry to bother you but I would like to ask you a question regarding the 'pear skin' design of the tea pot since a Google search proved futileAkira-san told me that a 'pear skin' design refers to the white dots effect that I see in the clay, but as a potter how do you actually achieve that kind of effect? Are they like little 'crystals' interspersed in the clay naturally or added while forming the shape of the pot? Aesthetically is it significantly harder to make this kind of teapots?
Sorry for such an esoteric question. I tried the search function for 'pear skin' but not much information came up as well
Thank you for your reply john! I've attached a photo I received from Hojo and I'm not sure if you can see clearly what I meantJBaymore wrote: For the "in the claybody" idea.......
It can be small pieces of "rocks" of either feldspar or flint. In the case of the feldspar, the little white spots are softer and melted and rounded. For the flint, they will be harder edged and more rock-like in quality. This effect is not all that commonly and broadly called richi hada.
Thanks for the great advice as usual ChipChip wrote: Wellll, yes and no. For the short term you can experiment, but for now perhaps avoid any tea that is toasty, roasty, and definitely not scented in any way. Avoid any "grain teas."
Considering your investment in the kyusu, I would suggest finding the family of teas you want to "dedicate it" to fairly quickly.
We would not want that, do we ?JBaymore wrote:David,David R. wrote:And yes, red here means oxidation baking.
If you don't want to drive a huge portion of us potters nuts...... please use the term "firing" (or for some even the term "burning") rather than "baking" for how we finish pots.
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best,
.............john
blairswhitaker wrote:is this a pot you ordered? I fell like I read that these pots were made from a naturally occurring clay, even if that is the case it does not exclude processing techniques that involve additions. like john said you can usually tell by the surface feeling. smoother "bumps" most likely feldspar. more "rocky" texture more likely flint. then there is "grog" this can be anywhere from fine and grainy to big and chunky.