Ceramics with wabi

by Douglas Hooten

Home

definitions:
raku, wabi, sabi

early works

1998 gallery

The firing process

glazes I use

kiln design

bibliography

e-mail me

The Raku firing process

The raku firing process illustrated here is not the process used in Japan by the raku kiln. It is, in general, the process introduced by Paul Soldner to closely obtain the glaze results he found in Japan but was unable to duplicate using the materials available in the United States. The biggest difference between the two processes is the use of the reduction chamber with its combustibles.

Please note: these photos were taken on the only day which I wasn't wearing a long sleeve shirt. I strongly recommend that when raku firing a person should wear leather shoes, long pants, a long sleeved shirt and heat resistant welder's gloves. Synthetic materials (such as nylon) should not be worn because they can melt or ignite and cause worse burns than would be the case if you were wearing cotton or wool. If the weather is not too hot wool is best because it is self extinguishing.

People with long hair should have it tied back and/or wear a hat for protection.

 
Here I am shown loading the kiln with ceramics to be fired.
     
The glaze should have been applied at least 24 hours in advance of firing. This will allow the glaze to dry sufficiently and avoid cracking or explosion when subjected to the rapid temperature increase at the begining of firing.
Here I am shown placing the hood over the pieces to be fired, being careful not to touch any of the pieces and to have the hood centered on the base.

Here I am lighting the burner. This burner is an inexpensive torch sold to burn off weeds or melt snow and ice from steps or walkways. A Burner designed for raku firing is a better choice, albeit more expensive, because the weed burners tend to throw a flame which is too long and concentrated.
     
I am always careful to have the wind at my back. The burner is lit with a welder's spark type igniter.

The double burner kiln during the firing. The heat is increased, by turning up the gas pressure, in three or four stages during the firing.

With this kiln/burner setup, each stage is about fifteen minutes long.

Once the temperature has been turned up to its final stage, I check the color and surface condition by looking through a viewing port cut into the side of the hood to determine when firing is complete.
     
Never try to look into the kiln through the top exhaust port.

When I determine that the firing is done I turn off the gas flow and allow the pieces to cool just enough to avoid their cracking due to the shock of being exposed to the relatively cold outside air. This cooling is just one more judgment call based on existing conditions (temperature, wind and humidity). Then I remove the hood.
     
I always try to lift it straight up far enough to clear the tallest piece before moving to the side and set it down.

Here I am taking the piece from the kiln to the reduction barrel. I normally use galvanized trash barrels which have hay or shredded newspaper inside as combustible material.

Depending on the glaze and the finish I want to attain, I will either move the piece to the barrel as fast as I can, or I will allow the glaze to oxidize and cool somewhat before I insert it into the barrel.
Here I am placing the piece into the reduction barrel. Once the Barrel has been closed the fire indide consumes all of the oxygen and creates dense black smoke which is drawn into the fired clay anywhere it is not protected with glaze. This is why a raku fired piece isdark gray to black on its foot and in the cracks of a crackle glaze.
     
After the piece has been in the can at least twenty five minutes it may be transferred to a bucket of water to cool. The rapid water cooling is only necessary if the reduction barrel must be reused for the next batch from the kiln.
     
Although firing can be done by one person, firing as a group can be more enjoyable, and is definitely safer.
The final step in the raku firing process is to scrub off the smoke residues. Here I am using a sponge and ground flint to clean one of my tea bowls.
To contact me with any questions, or for more more information, e-mail me or phone me at (603)772-1512
    © Copyright 1998 Douglas M. Hooten      

This page last modified      Page designed and maintained by DMH