Our Process

At Arakawa Pottery, pottery does not begin at the wheel, and it does not end when the kiln is opened.

 

Our process begins with planning and moves through forming, surface decoration, and firing. These pages are an evolving record of how Kathy Lee-Arakawa and Thomas Arakawa work, what we have learned, and how our process continues to change.

Arakawa Pottery

Overview of process

Planning

Before the clay

Our month-long production cycle begins with planning. We usually spend two to three days at this stage.

We make approximately 200 pieces each month, so before we touch the clay, we decide in detail what we will make—how many of each form, which clay bodies and glazes to use, and which pieces need to be replenished.

This is also when we develop new forms. We make drawings and diagrams, work out dimensions and proportions, and prepare templates, gauges, and other tools that will help us reproduce the design consistently.

Custom orders and special projects are also discussed with customers during this stage so that they can be incorporated into the upcoming production cycle.

成形 | Seikei

Surface & Decoration

Most people imagine that we spend most of our time at this stage. In reality, we usually spend about five to seven days forming each month’s production.

Even during these production days, we are not working with clay all day. We are still answering customers, handling office work, ordering materials, and taking care of the daily work of running the studio.

Thomas primarily works on the potter’s wheel, while Kathy specializes in handbuilding. Thomas’s mornings are often spent trimming and finishing pots made the previous day, then wedging and preparing clay before throwing new work in the afternoon. Kathy refines the previous day’s handbuilt pieces, cleans edges and corners, adds cuts and details, and prepares slabs for the next day’s work.

Drying is also part of forming. Each piece must reach the right firmness before it can be trimmed, altered, assembled, or moved to the next stage. Temperature, humidity, airflow, thickness, and even the season affect this rhythm, so learning when to work on the clay—and when to leave it alone—is an important part of the process.

加飾 | Kashoku

Before the clay

After the pieces are completely dry and bisque fired, Thomas and Kathy work together on glazing. We sort the bisqueware according to the glaze plan we made at the beginning of the production cycle, then apply each glaze by hand.

Glaze is much more than simply adding color. The thickness of the glaze, how it is applied, and the clay body underneath all affect the final surface. Dipping, pouring, brushing, spraying, and layering can each produce different results. At this stage, however, the true color is still hidden—we will not know exactly what each piece looks like until after the final firing. The glazing and kiln-loading stage normally takes us about two to three days.Text

焼成 | Shōsei

Firing

Firing is where clay and glaze are permanently transformed into ceramic. Our first firing, the bisque firing, is done in an electric kiln. For the final firing, we use a gas kiln and fire to approximately 2,350°F / 1,300°C over about 13 hours.

Loading the kiln is an important part of the firing process. Different areas of the kiln have slightly different temperatures and atmospheres, and the flame moves between the pottery almost like water flowing through a river. We plan the placement of each piece according to its size, shape, clay, and glaze. During the firing, we also control the amount of oxygen inside the kiln to create a reduction atmosphere, which helps produce the depth and variation characteristic of our glazes. After firing, we wait another 36 to 48 hours for the kiln to cool before we can finally open it and see the results.

Explore Each Stage in Detail


製作計画 [Seisaku Keikaku]
Planning

加飾 [Kashoku] 
Surface & Decoration
 

成形 [Seikei]
Forming

焼成 [Shōsei]
Firing

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