Summer is sizzling but the clay studio is nice and cool. Due to the popularity of the winter WLAAC-sponsored class, Marty is opening the studio again to offer continuing students more clay sessions and to invite new participants (16 and older) to join the fun and creativity.
This is a six week class, with two sessions per week: Saturday and Sunday, 2-4pm. This allows you to complete a project each week.
During the class you will:
- Learn basic hand-building techniques, or (continuing students) learn advanced techniques.
- Work with different glazes and learn about different types of firing.
- Participate in the culmination of the class — a Raku firing (ancient Japanese technique).
Registration is now open — please register by June 10. Contact us here or on Facebook.
Since the summer class is not sponsored by WLAAC, we’ll need at least 4 students minimum — 8 is the maximum
The cost is $60 — only $5.00 per session, and that includes the lessons, clay, glazes, and firing!
Sessions are held on Saturdays and Sundays, 2-4pm.
Class begins June 19, 2010
As in the first class, students will have the opportunity to create a beautiful Ugly Mug to sell during the Farmers Market and WLAAC’s Summer Music in the Park. Proceeds benefit WLAAC.
Kiser Art Studio conducted an eight-week clay class that was made possible by a sponsorship grant from the West Liberty Area Arts Council.
The class consisted of building clay using various methods of hand building.
The class culminated in an outdoor Raku firing. Raku is a centuries-old dramatic method of firing the clay body using rapid heating and cooling of the clay. In between the heating and cooling is a period of time in a reduction chamber with organic material.
An Outdoor Raku Firing at Kiser Art Studio in West Liberty, Iowa in April, 2007.
That was the short version. Here are a few more details.
The Raku Kiln gets fired up using weed burners inserted into the sides at the bottom. The pottery (also called Raku) has been glazed (with Raku glazes) and bisqued (fired to harden it and ready it to accept glazes).
The kiln is loaded with clay and the burners are lit. Nothing to do now but wait for it to reach temperature.
After waiting for a sufficient length of time, Marty checks to see that top layer is getting some heat.
“We think we should check the Kiln, too, because it might be hotter by now.”
After what seems like a very long time (20-30 minutes) the pottery is red-hot.
Marty removes each piece with a long pair of tongs. He’s also wearing welders’ gloves to protect his hands from the heat.