These are the primary air ports and they were open here to let the maximum amount of air into the firebox to combust the wood efficiently. Every once in a while toward the end of the firing it was important to manage the coals so they would not block these ports.


Here you can see Brian pulling some coals to balance out and level the coal bed.

The wood we got for the firing was difficult to get at first. This firing we were able to buy the wood at a lumberyard that was near by the school and people delivered it to us. The price was reasonable and it was good and dry. The kiln likes the mixture of big, thick, dense wood with thin wood at the end to get the instant btu’s.

The flames were really coming out of the kiln and the chimney was drawing a tremendous amount. It was great.



Josh and Todd took over stoking the firebox. We used all pine wood and it was very dry. The day was also dry and hot. It was a good time for the firing and we got good response from the kiln.

There was a lot of excitement about the Americans and the wood kiln so when it came time to fire there was a celebration. You can see Brian throwing in the first log with many other people looking watching in anticipation. It was a great time. We had a party and a lot of people came by the studio to see the kiln and talk with us.

Pots were glazed and moved toward the kiln ready to be loaded up. We had all been attending classes, figuring out JingDezhen, and getting use to the food, which made us a bit out of tempo, but now we were going to fire the wood kiln and it all seemed normal for the first time.

Pots were being made, foot rims were being wadded and cone packs were in construction. We would load for the first firing and we were all excited.

Some of the last minute touchups to the kiln were made and it was a layer of cement around the kiln for water protection. We made the cement and created the forms and finished off the base.

The metal work was done. The chimney was attached to the kiln to help prevent the wind from taking advantage. The buck stays were tightened and all we had to do left was insulate the roof. Pots were made and the first of the three firings was to begin. What a great experience.

This was the wood source that we found and we searched local lumberyards. The people at the mill would deliver the wood to us in small trucks and the whole process worked out well.

The arch was put in mortared up and there was a door. The kiln was really coming together quickly and we knew it was only going to be a matter of time until we needed wood to fire. The fuel source was the next hurdle.





The last arch to go up was the doorway. The gentleman that built the main arch form was employed once more and did a great job with the door form. He was great. He reused every board, straightened every nail and reused them together. It was great craftsmanship and resourcefulness.

Once the bricks were laid and some final adjustments were made the arch form was pulled out and it looked like you had a kiln. The hard part was over, now it was just time for the finishing touches and I think Brian started to relax a bit.



The capstones were large and sturdy which offered tremendous stability for the arch. The arch brick themselves were special ordered and placed long ways so there were 9 inches of insulation to work with. It really became a well-insulated and large arch.



Next it was the arch. The arch form was made after figuring out the span. This took a little time to figure out because getting the right brick configuration is key for an arch system. Bob Anderson is a fan of the sprung arch and that is what he really wanted on this kiln. Finding the brick took some time, but was worth it in the long run.

The steel in the this kiln was tank worthy and will do it’s job of holding the kiln together for years to come. The buck stays were bolted at the top and welded and bolted to the concrete. It was a really top-notch job.




It is time for the wielding and these gentlemen go a great job. They work along with the mason and Brian like professional wrestlers tagging one another to go into the ring to do their work. The other will just sit out of the way resting and appreciating the others handy work.

The transition between the stack and the chimney was the area designated for the damper that would be a compressed kaowool type product that you can get in Jingdezhen for cheap. It is the size of a normal kiln shelf and works well. There are two so we could adjust the damper on both sides. The weilding would come next to make the kiln stronger.

The stack was complete and it was a monster. We all knew the draw was going to be powerful, but we didn't know how powerful.

While the kiln was being laid up outside a welder was on hand to do the welds on the kiln. Too keep him busy he got working on the ware carts. He was a great welder.

There was a lot of activity going on from the Bob Anderson and the West Virginia University people in the new studio space and it was creating some attention from the community. People would constantly come into the space to look at the work and see the Americans. At times there were television crews and Bob would t reluctantly take care of the PR.

It was time for the chimney to be constructed along with the building of the kiln. The pad for the foundation of the chimney was widened to displace the surface area of the base. The pad that the kiln was built on was relatively thin so we had to make some adjustments as they surfaced.



The bag wall is a major component in the design of this kiln and can be seen here intergrated into the wall and rising with the kiln. The main door to the fire box can be seen as well.

There were a lot of bricks to be moved and Brian always kept the supply steady for the Mason.

The bag wall is begining to take shape and you can see that it is solid as well as tied into the outside wall.


All the joints were mortared to create stronger kiln and increase the tightness of the kiln.
Here is an area where the chimney will be attached. These areas of attachment were all toothed to make the design stronger.





The exit flew and the wall structure can be seen here. The kiln walls were two bricks wide and it was constructed out of hard brick.

Bob was able to work on the kiln and get the welding person to understand the ware cart construction that would soon be functional in the studio.
He and Justin were able to find some shelving material and cut it to size.



Saggar was always around and got bigger by the day.




Brian was never wavering. He knew the design and the way to build it but what he did not know is how to work with someone who was also a professional that spoke no English and had preconceived ideas of kiln construction. During the process there was much give, take and push and pull.




The work started out with the foundation and everyone was able to move some bricks and try to imagine how this kiln was going to look.

Saggar was the kiln yard dog and he supervised the construction of the kiln while providing some entertainment on those hot days.

We fired the kiln three times and the design turned out to be remarkable. The kiln was designd with a solid bag wall that stood about 4’ tall. The shelf configuration was set up specifically to baffle the flame and force it into an S shaped path through the kiln then out the massive stack. This created a tremendous amount of draw assisted by the mortaring of every brick during construction.

Brian VanNostrand was the first visiting artist that accompanied the students for the Fall 06 program. He proposed a fast firing wood kiln that you see here in a 3-D model and worked with another Chinese mason to create it. It really turned out to be an incredible undertaking where Brian was discovering how to work with someone who could not speak English. There were tough times but I think everyone learned something out of the construction of this kiln.

The next kiln to be built was a wood kiln and this was the location for the undertaking.

When we first got there a large reduction car kiln was being built in the kiln room. This turned out to be a wonderful reduction kiln that was fired about 5 or 6 times while we were there. The results from the copper reds and the blue and white decorated works were wonderful. This kiln really made a nice addition to the studio.

These are some of the images from the lesson on Neo-Lithic or better known as the Banpo period.

Another class that we take for three credits it the Art History class. This is an in-depth look at Chinese art history focusing on ceramics. It is a favorite of mine and the professor is very knowledgeable. He only speaks Chinese so a translator is required. The format of the class usually begins with Neolithic ceramics such as Pre-Banpo to Qing Dynasty. There is a lot to cover for these periods but the professor breaks it up in interesting courses enabling you to understand the evolution of high-fired porcelain. I have taken the class many times now and have learned new things each time form the same professor. He goes over material fruition along with kiln and decoration advancement.

Outside of the studio time students attend language classes to help them understand basic Chinese. This is a class that happens once a week and is usually a couple hours long. Three credits are received for this study and the language that is subjected helps you in your daily JingDezhen life. Things you go over for example are shopping, basic necessities, post office, banking etc. It can be a good class but it is difficult. If you practice outside of calls and are not afraid to use it, you will see the benefits. This is Jay he was the teacher for the class.

When it comes time for you to work she is there helping you.

Gu Mei Qin is an amazing artist. Watching her build a teapot out of sheets of clay is an amazing process. The other techniques such as handle and spout construction are wonderful and useful as well.

The Yixing teapot is constructed of amazing clay that has a quality that enables it to be workable within thin sheets. This allows the artist to construct forms in a manner that is familiar to a wood worker. A banding wheel is used to do a lot of the work, which may involve cutting, paddling, trimming or joining. Precision is a must and once you get started making the Yixing teapot, you understand quickly that it is not as easy as it is made to look. Other tools are used for various purposes and it is a slow process. Once you get the hang of it you start to see the benefits of applying this style of hand building to other ceramic tasks.

She worked with the students for 3 days showing them the techniques of the Yixing Tea Potter.

Gu Mei Qin and Bob Anderson have been friends for many years and she has been involved in the China program for a while and has also demonstrated at West Virginia University. Working with her is great and she is a wonderful teacher.

Gu Mei Qin was another artist that demonstrated during the semester. She taught the slab construction of the Yixing Tea Pot.

After all the demos it was our turn to glaze our pots.

Glazing the wares was the next step that we were exposed to and Fang the decorator showed us all the steps. First the pot was cleaned once again with air from the compressor. Next the glaze applicator was filled with glaze and sprayed on the ware. This is the traditional method here in JingDezhen and the only thing that has changed is the use of the compressor. This is a great way to glaze a pot but respiration of the glaze is possible so a mask is worn.

Preparing the wares for glaze is another important job in the ceramic process. Here in JingDezhen the wares are fired in the bone dry stage so there is great care in the glaze process. The wares are first dusted off removing any dirt or dusty clay particles that would cause the glaze to improperly fit. Fang’s father was always around the studio showing us how to delicately perform this step.

Zhan would throw amazing shapes and then turn them over to the trimmer who would reveal their true form. It is a great process and portrays a mastery that takes an individual time and dedication to understand and execute.

Zhan threw at a traditional style wheel that was driven with conical drives turning a large cement wheel head. This is the standard wheel in JingDezhen for throwing and trimming Students had access to these two wheels. We also had access to 15 standard western wheels that we were more familiar with.

The next artist that worked in the studio was the master thrower, Zhan. He could throw anything and do it with lightning speed. It was truly amazing; his talent and control amazed us all. Zhan moved the clay with force and threw in positions all over the pot. He was a Jingdezhen thrower. Another of his great attributes was his smile and demeanor. I learned a lot from him and so did the other students.

Students were able to watch as the professor moved around the canvas like ceramic plate with purpose. The pigments are a lot like watercolor in that you moisten individual palettes with oils before applying them to the piece. They can be wiped off or saturated with oil to create an infinite amount of visual variety. This demonstration was masterful and we could only look on with awe.

During this semester we had a lot of Chinese ceramics coming at us. It is definitely overwhelming at times but moving at a steady input. Once you adapt to being overloaded each day you start to understand it and let it influence your work.
Over glaze decoration was another art form that we were exposed to. This is one of the over glaze professors at JCI and she is amazing. Over glaze is a traditional decoration that originated in JingDezhen between the late Ming and the early Qing Dynasty, that allows you to paint on fired porcelain. It has changed the surface of ceramics ever since. This professor gave us exposure to the materials and techniques.

People get the chance always to ask questions and gain knowledge from the demonstrators. True they speak Chinese but with myself or another translator around the language barrier is usually met.


Here you can see how delecate the structure is but once the master gets done it beocomes very strong and looks great.


The slabs were cut with precision. The workability stage was leather hard.

After a basic understanding of slab construction was established the slab master went on to show more complex creations. This was a six-sided piece and the techniques to construct this form were the same but more finesse was involved. The students looked on with scrutiny to apply these methods to their upcoming creations.

Others are given the chance to work on slab construction. John is getting valuable information working along side the slab master.




The excess is cut off of the form.





When the slabs have set up overnight, they are ready to put together. Here you can see the slab master is butterying up the termination of the next slab he is going to put on. He will pat the two with a board to strengthen the joint.

The slab is soon ready to be place on a plaster table for efficient drying.


The clay is then rolled out with a large hollow piece of pipe.


Next the clay is put between two sticks of desired thickness.


The surface of the clay is removed taking away any wrinkles or divots.


The clay is taken usually from a de-aired pug and readied for slab making.

Another great artist that came to the studio to give demonstrations was this gentleman. He demonstrated how to make slabs. Some of you may think this is rather simple but this technique enables these people to create large tiles, sometimes up to 6'x4', then paint on them and fire them. This is all done with porcelain and they have no warping. It is truly an incredible process.

Yang Bing
Yang Bing
Fang
Fang

Once we had a better understanding of Qinghua from the artists and brush maker it was easy to appreciate the skill it takes to creat these wonderful works of art.

The students were then able to buy the brushes they wanted for the upcoming Qinghua and overglaze demonstrations they would participate in.

These are some of the brushes that he brought with him to sell. It was great to know how they were made and to understand the different uses of each one.

This tool is used for making the interface of the bamboo ready for the brush hairs.

Here is a detail of some of the tools used by the brush maker. You can see the water bucket and the flat board. The comb is made out of a ox bone.

Brushes are constructed with limited but effective tools. The brush maker selects the hair specific for its character and lines up the strands with a combination of combing and tapping. Water is the vehicle that allows the alignment and workability of the hairs. Once aligned the hairs are cut into an even plane then rolled into shape. At the end they are tied together and strategically interfaced into the bamboo through ingenious cut design.

It is very difficult to understand the intimacies of Qinghua without understanding the most important part and that is the brush. Every painter knows their brushes but in Jingdezhen brushes are still made the old way by hand and this gentleman came in during our demos to help us understand the fundamentals of brush making. Here we were able to understand what went into the brush and why certain brushes were used for specific applications. This was and incredible demonstration.