Mishima, mishima, mishima – try saying that five times fast. Better yet, try actually executing this slip-inlay technique on a bunch of pots! You’ll end up with a tied tongue or cramped fingers, but with the latter you’ll also get fantastic intricate surface decoration on your pottery.
I have coveted Lorna’ Meaden’s yummy surfaces ever since I saw her work for the first time a few years ago in Ceramics Monthly. And I have been wondering what technique she uses to achieve the super fine (in more ways than one) pin-striped decoration that graces a lot of her pots. Well, it’s mishima, and today, Lorna tells us a little about the process. Plus she shares some of her soda firing techniques. I am looking forward to giving the old mishima technique a whirl sometime soon! – Jennifer Harnetty, editor.
Mishima pottery comes from the Japanese Island of Mishima, but it was originally transported from Korea around the 16th century. This surface design technique is a way of drawing by inlaying a slip of contrasting color into lines incised in leather-hard clay.
To create very fine lines, I use the sharpest knife I can find – a disposable scalpel – to draw on leather-hard pots. Then I fill in the etched lines with black slip, allow it to become leather hard, and scrape it off with a metal rib – the kind that comes in the beginner’s pottery tool kit. The photo at the right shows the lines before the slip is scraped off. The metal ribs are helpful because you can bend them to the contour of the pot. After the pots are bisque fired, I then go back and divide up the space, using wax and latex glaze resist to create sections of color.
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Soda Firing for Depth and Brightness
I fire in heavy reduction until cone 9 is down. I then close the damper of the kiln, and turn up the gas. This produces unused fuel in the atmosphere of the kiln, trapping carbon on thesurface of the pots. Then, I spray a soda ash solution into the kiln. I use a large amount of soda and water (5 lbs. soda ash to 3 gallons of water) and spray it in all at once. Afterwards, I let the kiln gain temperature until cone 10 is down. The finishing step is creating an oxidizing atmosphere to brighten the color of the glazes.
To see more of Lorna’s work, visit www.lornameaden.com.
**First published in July 2009