The Raku firing process
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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.
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 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. |
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  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.
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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.
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  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.
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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.
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 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.
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 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. |
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  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.
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 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. |
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To
contact me with any questions, or for more more information, e-mail
me or phone me at (603)772-1512
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