Location Kalea's Kiln

[Kaleidoscope]

x x Kalea's Kiln Chosen in part for it's knack of appearing near some sort of vegetation, Kalea's Kiln is a relatively new addition to Alvadas' circle of artisan workshops, having been in the works from mid Spring, 516AV, and officially opened to the public from the 5th of Summer, 516AV. Devised by a collective of potters from various cities throughout Mizahar, it has become a space for learning the art and skill of making pottery. From practical, functional pieces to the creative and more abstract aspects of working with clay, one can usually find someone who is willing to teach an eager learner. Warmly toned stone, curved archways, and plant-life are the three common features of Kalea's Kiln, besides the odd splattering of clay here and there. At first glance, the workshop appears to be made up of three structures, yet before the shifts that constantly change the Alvadas cityscape, they were once part of a much larger building- a well established inn during its heyday, though its name is now long forgotten. In their current state, the three structures that make up the studio manage to stay connected by at least one hall or staircase at any given time, whether they are lined up in a row or are found haphazardly stacked one atop the other like a child's toy. The first building (top & center) is the shop where those with enough confidence can attempt to sell their work. It is the most likely of the three to appear on street level, with moss green doors welcoming the odd visitor or customer. Hardy wooden racks and shelves line its stone walls, alongside an assortment of tables, all displaying various works, from sculptures and jewelry, to cups, plates, bowls, to the odd cistern or urn. An assortment of tiles and bricks can be found in piles near the back of the shop, some of which are used to patch up the shop in its old age. The second building (left), the smallest of the three, houses the numerous glazes and the four kilns, the fires of the workshop, within two rooms. In the first room, otherwise known as the the glaze room, wood shutters cover the windows, while barrels of glazes can be found tucked away under stone counters and wooden tables. Jars and boxes of various materials, such as various minerals and liquids, are stacked in an orderly fashion upon counter-tops and shelves alike, alongside a variety of measuring tools, and tools used for decoration. Along the wall, to the left of the main door, lies the smaller of the two rooms, the kiln room, which is dominated by four kilns and a wooden awning wall that may be propped up to allow for a good deal of ventilation. Directly in front of the entrance lies the first kiln, which is used for bisque or 'first' firings, preparing the pottery for the next stage of firing. Multiple pieces may be carefully stacked in a bisque firing. Beside the bisque kiln lies the kiln used for glaze, the largest of the four. Pieces may not be stacked in this firing, nor may they be loaded too closely or they run the risk of fusing together. Beside the glaze kiln lie the Sultros and Luster kilns, the smallest two of the four kilns, which lie beside a back door. The Sultros kiln in particular is portable enough to move outside. Upon entering the glaze room, one must always have some sort of cloth or breathing protection against the various fumes that arise from the Glaze, Sultros, and Luster kilns. The third and final building (right), the largest of the the three, contains the potters' primary work space and is connected to the caverns by three points. This building holds three communal workshop rooms, two additional storage rooms for drying greenware (unfired pottery), and five smaller rooms (8 x 10) that are occasionally rented out as personal workshops, however wheels and tools must be purchased at user's discretion. Personal firings (an entire kiln full of one potter's work) which use the communal kilns will also have a fee. Renters are advised not to sleep in these rooms, as health issues may arise from breathing in the silica latent in the clay. The three communal workshops are separated by the means used to manipulate clay. The first and largest of the three contains six kick-wheels for throwing pottery on the wheel, which is often used for making vessels that are relatively symmetrical, sizes ranging from miniatures to pieces that are at times larger than the potter themselves. It is perhaps the most common method of making anything from a jug, planter or mug, to a casserole dish, plate or teapot. The second workshop sports two large hand-building tables, with enough room to comfortably seat four to six people at any given time each. Here, potters are encouraged to create anything they can imagine, from slab or coiled mugs, to decorative and ornamental pieces, such as jewellery. Potters may also find themselves using this space to attach handles to their wheel thrown mugs, or adding decorative touches to their pieces. Tools come in all kinds of forms, from stamps, cutlery, and rolling pins, to random scraps of metal or wire, and even thin pieces of wood. The third and smallest of the three workshops is mostly reserved for preparing and recycling clay. (See OOC resources for more info on preparing dug clay.) The process of recycling clay involves submerging leftover pieces of clay in water for at least two to three days, if not longer. In dumping trimmings from thrown pieces or leftover chunks of clay from hand-building, one breaks down the clay particles as they re-hydrate and break off, until they settle as silt at the bottom of the barrel. Employing this method, two barrels sit under each table, upon which lie three plaster bats. Each barrel contains enough water to create a thin layer over the clay, while the plaster bats suck the moisture out of the re-hydrated clay until it is of a workable consistency. One must check up on the clay and avoid leaving it for longer than a day or two on the plaster bat or risk having the clay drying into a solid clump. Beneath the workshop runs a small network of underground caverns, which are believed to have once been connected to the Underground. Those who enter the caverns (which are used for additional storage for less important materials, such as failed or broken pieces of work) must always take caution, as they may become lost for days at a time should they stray too far from the entrance as the tunnels that connect the caverns shift in time to the city.   Services Membership: 25 GM per season. There are many benefits: members are allowed to add their work to the kilns and may sell their work on the premises. Members also have a limited supply of free clay that they may work with, although extra clay will need to be bought if the member plans to use more than the allotted 20 kg (excluding porcelain, which always has to be bought separately). They also have free access to glazes and classes. Rented Workshops: Membership price plus 15 GM per season. Workshops are only available to members/ Classes: Free for members, ranging from 2-5 GM per class for non-members depending on what is being taught and the size of the items being produced. Personal Firings: 10 GM per firing. This applies to both members and non-members as it requires the use of a whole kiln. Prices for pottery are in the Price List, unless otherwise specified by a player or moderator. Items not on the price list are at the player's discretion, within reason, and moderators may reserve the right to alter the price should the occasion call for it. Available for self-moderation. Please contact the storyteller with any questions. *Location credit belongs to Kawari Newid for this wonderful and detailed writeup!   Clays Clay is sold in units of 10 Kg. Type of Clay Unfired Appearance Price/10 Kg Grey A mouse grey clay, with a few almost unnoticeable iron specks, though they do not show up once bisqued or glazed. Slightly rough, but it is nearly unnoticeable. 7 CM Red As the name suggests, this clay is red, at times varying from an almost orangey shade to that of dried blood. It has a similar texture to the grey clay. 8 CM White Stoneware White, sometimes a light creamy colour with a soft and smooth texture, it responds very readily to a potter's touch- times overtly so. It also has a higher water intake than Grey and Terracotta. 1 SM 5 CM Speckled Pretty much grey clay with noticeably more iron flecks that do show up once bisqued. Black/Brown flecks will appear after final firing, even through transparent glazes and some opaque glazes (ie. Cream). 8 CM Sea Mix A lighter shade than grey clay, it is a bit more dense and contains bits of sand and shell (very fine, so no, you won't see chunks of shell or pebbles) and is a bit rougher than Grey. Small speckles may appear final firing. 7 CM Calico The roughest and most likely to sand down your skin on the wheel, Calico has a rough texture both before and after firing. Handbuilding is recommended when using this clay, but if used on the wheel, expect pain, raw skin, and even some blood. Has slightly more prominent speckles than Speckled clay. 1 SM Porcelain Snow-white, it is the smoothest of the clays, and also one of the most difficult to use, as it is very delicate and takes a lot of patience to work with. Mostly reserved Expert and Master potters, there are usually only a few portions kept in stock. 2 SM 5 CM   Firings In someways similar to a forge, the kilns heat up the clay and glaze at high temperatures, however in simple terms, this is to either to rid the clay of moisture and harden it to a porous, rock-like composition (bisque firing) or to melt and vitrify the clay and glazes into their final form, depending on the type of firing. Results are vastly varied and colours are dependant on the materials used in the glazes. Firings are run weekly, depending on the amount of work produced in the workshop, and are set up in large part by the Master Potters. Note: PCs may load kilns after learning how to do so from a Master Potter and have Competency in Pottery. (Recommended to look up how to load kilns- methods and 'rules' for loading kilns varies depending on type of firing.) Types of Firing Offered: Firing Time Basic Materials Result Bisque About 2-3 days Only the clay pieces are required Porous piece, ready for next stage of firing Regular Glaze About 2-3 days Silica and a myriad of minerals (oxides) Various results depending on glaze(s) used (Typically smooth, glossy or matte) Sultros (Raku) About 1 day Specialised Glazes, Flammable Materials such as hair or hay Glossy, matte, or metallic surface with decorative burn marks or crackles (Firings produce a lot of smoke) Luster 2-3 days Varies greatly, but usually includes metals and minerals Shiny metallic or mother of pearl finish Salt Firing About 2-3 days Rock salt and either a lowfiring claybody or slip Dichroic patinas   Glazes Image Link. The glazes listed below are the only constant glazes in Kal's Kiln, despite the wide array of glaze barrels that litter the Glaze Room. Whether it is solely due to Jim's tinkering with the recipes or Ionu's effect, the rest of the glazes tend to change with every batch, making it difficult to achieve the same results. Glaze Name Translucent/Opaque/Matte/Velvet Description North Suvan Blue (NS Blue) Translucent A blue glaze that appears nearly black on red clay. Mid Suvan Blue (MS Blue) Translucent/Opaque A dark blue-green glaze that is greener when applied thinly and more blue when thicker. South Suvan Blue (SS Blue) Translucent An aquamarine/turquoise glaze. Falyndar Green Translucent A dark, forest green glaze. Clear Transparent A simple clear glaze that create some interesting effects with other glazes. Makes red clay appear a milk-chocolate brown. Nougat Translucent A white glaze that browns where thin, and also has small brown flecks. Cream Opaque (slightly matte) A beige/creamy coloured glaze that browns slightly when really thin. Syna's Tear Translucent An amber-gold glaze that appears more brown when applied too thinly (one layer) and resembles molten blue fire when applied more thickly (three or more layers). Midnight black Opaque & Matte A black glaze that interacts well with SS Blue and a variety of other glazes- depending on their temperament at the time.   Miriam Name: Miriam, of the tents of Maech, of the Sons of Malech Race: Benshira DoB: 57th of Spring, 463AV PoB: Yahebah Title: Master Potter Skills: Pottery 78, Sculpture 77, Etching 52, Land Navigation 80, Animal Husbandry 26 Gnosis: Hapchance, 1 Mark About: Born in the sands of Ekytol, Miriam learned from a young age that life was full of challenges. From caring for her family and their herds, to simply surviving life in the sands, the young Benshira was faced with struggles. It was only when her aunt taught her the craft of pottery that Miriam was able to find a sense of self balance. However, when of marriageable age, Miriam was disowned by her family for having a lover outside of the Benshiran tents, only to be abandoned by her lover as well. Distraught, she ventured into the sands. What happened afterwards is a mystery, the only hint is that when she boarded the ship for Alvadas many years later, she had the mark of Kelwyn. Now a well established potter in her own right, Miriam has taken it upon herself to teach others the craft of pottery, for more than simple art, but for the sense of balance and peace it offers, particularly in throwing on the wheel and through sculpture. She has a calm disposition, an eternally gentle smile, and gives people advice by nudging them towards their own answer. |   Jim Name: "Slim" Jim Kavaldis Race: Half Svefran DoB: 69 of Summer, 455AV PoB: Kenash Title: Master Potter Skills: Pottery 79, Philtering 75, Geology 80, Poisons 67, Herbalism 60 About: Born to a Freeborn mother in Kenash, Jim never knew his father, though his mother told him that he had been a Svefran sailor that had charmed her for a night. However, despite his roots in the sea, Jim had a thriving interest for the land, and living in a swamp, marshy area, he quickly developed an interest in pottery. As a young adult, things changed as he got involved with different crowds, though beyond that, he won't say what happened, though there are rumors that pop up from time to time. His only comment is that his mother passed away and that he was forced to flee the city byship to Alvadas, where he has settled ever since. He is wry and playful, like an eccentric uncle, and loves to play pranks. There are times where he can seem a bit... "off", which he likes to jokingly attribute to being around the glazes for too long, with a wink. Slim Jim is the one in charge of making all the glazes and mineral substances for Ka'ls Kiln and also enjoys processing and experimenting with different kinds of clay. Name thanks to Niccolo & Sh'Ky.   Jijimi Name: Jijimi Skyglow, "Gran'ma Imi" Race: Vantha DoB: Unknown, Estimated age 80 PoB: Avanthal Title: Master Potter Skills: Pottery 79, Carving 83, Storytelling 75, Teaching 56, Wilderness Survival 62 About: Born and raised until early adulthood in Avanthal, Jijimi has always had a taste for adventure and a wandering spirit. More often than not, she had felt that the snowy landscape was too bare for her liking, though she did enjoy the beauty contained in it. Once she was able to, she took the first opportunity that she could to venture out and explore. It was some decades before she reached Alvadas, where she became enamoured with the ever changing city and all of its illusions. Through her travels, she has picked up many stories, as well as pottery, which in combination with her carvings, aided her in keeping her purse happy. Although she can be a bit strict at times, she is not without humour and will get things done. Many of her clay pieces incorporate techniques that she learned for carving. Thanks to Sh'Ky for the name.   Keith Name: Keith Torkk Norson Race: Human DoB: 22nd of Spring, 497AV PoB: Zeltiva Title: Master Potter Skills: Carpentry 48, Pottery 76, Tattooing 69, Painting 73, Brewing 66 About: Growing up in a port town, it was not unusual for Keith to overhear fantastical and usually exaggerated tales brought through by travellers. One tale in-particular enthralled his imagination- stories of city that never looked the same twice, filled with sights and illusions that dazzled all that beheld it. Spurred by his longing to set his own eyes upon the city, he eventually made his way to Alvadas. His involvement in pottery in part stemmed from his passion for tattooing and painting, and he often creates works inspired by the illusions he encounters in the city. Name thanks to Niccolo & Sh'Ky.   OOC Resources and Info Digging and Processing Raw Clay (Video) How to Find and Dig Clay Basics of Making Glazes List of Glaze Recipes (and Misc.) Three Simple Glaze Recipes Introduction/Basics of Salt Firing Notes: Greenware is what potters call a piece when it is freshly formed from clay (still raw clay, that has not gone through any firings). Greenware must be 'leather hard' in order to trim and add handles, etc. (is able to keep its shape reasonably well when handled. Greenware needs to be dried all the way through before bisque (first) firing