raku

Hmmm - we kept out kiln running and did multiple pots. We declared the pot to be done when the glaze was glossy (don't even want to think of what my retina looks like). At that point we took the pot out with long metal 'tongs' , dropped them in a metal can with burnables (leaves, paper, straw, etc.), covered the can and finally took the pot out and put it in a tub of water. In my way of thinking, it isn't raku if it has not be reduced in pile of sawdust, leaves, or other organic medium. I would not have a clue how to reduce in the kiln.

After re-reading your post - I'm guessing I miss understood. Do you have googles for looking in your kiln? Wear them! look through your peep hole (or open the door some) and when the pot looks shiny, it is ready to take out. If you are not using a glaze then you need the pot to be hot enough to actually form a chemical bond with the carbon. You might use cones, or T.C. or a test tile with glaze and gauge a time what works for you.

Donna

one general way to tell when raku pots are ready is when the "inside" color of a hot pot is the same as the "outside" color of the same pot. this means the radiant heat on the inside & outside are generally the same. for glazes that are not especially glossy this helps. ~ also for glazes that might have been applied thin.

idealy you monitor the fire & see the glaze go thru it's acne-bubble stage & settle down into the melted stage. but we know this doesn't always happen with raku environments (usually food & beer flowing where i do raku).

if you remember pot placement when loading the kiln viewing later when they are hot helps a lot.

and simply have lots of pots!

see ya

steve

DKat wrote:

Other things to note:

It is easier to gauge what is happening looking down through the flue opening. Look at the edges of the pots to see the shine (like Golden Syrup), as Steve said look for colour even-ness and no black *spots*. If you are making flat ware, shine a torch into the kiln (really), moving it around to pick up the shine.

Have your reducing bin at least 8 paces downwind, and when you carry pieces to it walk slowly, don't rush. By the time you get there the glaze will have formed a protective *skin*, but will still be sensitive to reduction atmosphere, so you will get the colours, but not the gritty surface from sawdust (or whatever) damage.

Above all, have fun.

Steve Bath UK

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