{"id":7070,"date":"2023-09-13T15:19:33","date_gmt":"2023-09-13T15:19:33","guid":{"rendered":"https:\/\/www.eltornbarcelona.com\/?p=7070"},"modified":"2025-02-25T13:09:48","modified_gmt":"2025-02-25T13:09:48","slug":"firing-methods","status":"publish","type":"post","link":"https:\/\/www.eltornbarcelona.com\/en\/firing-methods\/","title":{"rendered":"firing methods"},"content":{"rendered":"

\"\"<\/p>\n

The good, the bad and the ugly<\/em> of firing methods<\/h2>\n

When we talk about firing methods, we\u2019ll often talk about oxidation<\/strong> and reduction<\/strong>.
\nOxidation and reduction are different processes.\u00a0 Therefore, the same glaze can look very different when fired in either atmosphere.<\/p>\n

Oxidation<\/strong> means having a good supply of oxygen in the kiln. When a kiln heats up, molecules attach to the pottery and inter-react with the glaze and clay surface. \u00a0The oxygen attracts electrons from the glaze and this causes them to oxidize.<\/p>\n

And reduction<\/strong> is when the amount of free oxygen in the kiln is restricted. As a result, gases will build up and extract oxygen out of the metallic oxides in the clay and glazes.\u00a0 The oxides then take on a reduced and concentrated form.\u00a0 This can affect the color and texture of the oxides.<\/p>\n

Let\u2019s talk about the good, the bad and the ugly of each type of firing methods:<\/p>\n

Electric kilns:<\/strong>
\nThe good:<\/em> \u00a0are the most used kilns by potters today.\u00a0 Easy to install and simple to use as most have digital control panels.\u00a0They are made of insulating bricks, which are etched with channels that run around the whole of the kiln.\u00a0 Metal coils run in the grooves.\u00a0 High electrical currents are passed through the metal coils which function as heating elements.
\nThe bad: <\/em>you can\u2019t use them for reduction, nor burning anything that creates a flame inside it.
\nThe ugly:<\/em> electricity bills\u2026. Nowadays, not to be overlooked.<\/p>\n

Gas kilns:<\/strong>
\nThe good:<\/em> A gas kiln uses combustion to heat the insulated internal cavity. You can use gas kilns for reduction firing, and salt or soda firing. These can create dramatic results that can\u2019t be achieved with an electric kiln.
\nThe bad:<\/em> the low temperature limitations and the fragility of the ware. Also, many pieces break during the firing process due to the erratic nature of the firing and poor insulation.
\nThe ugly: difficult to get permits to have gas kilns in the cities. It requests a vent or a chimney to the outside. If you have a studio in a countryside, then lucky you.<\/p>\n

Wood burning kilns<\/strong>
\nThe good: <\/em>wood firing is an old practice that involves burning wood to heat the kiln chamber.\u00a0 Because of the simplicity of the materials required, many potters construct their own wood firing kiln.
\nThe bad: <\/em>It is not an easy option for firing clay.\u00a0 With an electric kiln, you flick a switch, program a digital panel, and get on with your life.\u00a0 With a wood firing, that\u2019s not the case, it takes a lot of time and effort and must be monitored all the time to keep the fire stoked and at the right temperature.\u00a0It can take up to three days to fire clay in a wood firing kiln.
\n\u00a0The ugly: <\/em>because of the wild nature of fire, there is often movement during the firing.\u00a0 This can result in pottery breaking and fusing together with one another.<\/p>\n

Raku firing:<\/strong>
\nThe good:<\/em> Raku is a whole different thing: it\u2019s taking the piece out of the kiln when still red hot.
\nThe piece is then placed in a container that has paper or sawdust in it.\u00a0This will reduce the oxygen and rapidly cool down the piece. As a result, the glaze cracks and creates beautiful, crazed effects. You can buy kilns specifically designed for raku firing or make them yourself out of brick or other simple containers, such as an old metal oil drum.
\n\u00a0The bad: <\/em>Raku is generally a low fire kiln process. As such raku ware is normally quite porous, meaning the pottery is fragile and the glazes flake easily.\u00a0 Deco purpose only.
\nThe ugly: <\/em>the high temperature you\u2019ll face when opening the kiln. High risk of burning.
\nThe potter must be very careful and use long tongs. Top-loading kilns are not ideal, as you must lean over the top as it radiates intense heat.<\/p>\n

Pit firing:<\/strong>
\nIt\u2019s one of the oldest methods of firing clay dating from around 800-1066AD.\u00a0 Still used today because of the exquisite looking effects that can be created.
\nThe good: <\/em>pit firing doesn\u2019t need a kiln, just a hole in the ground deep enough to contain the pieces of pottery and some combustible materials like wood, sawdust, and leaves.\u00a0The bottom of the pit is covered with a layer of combustibles.\u00a0 The pottery is then placed on this layer with space between the pieces.\u00a0 More combustible material is put on top of and around the pottery.\u00a0 We light the fire and let it burn. Once the fire has reduced, it\u2019s left for few hours then the pit can be covered with sand. This will reduce the amount of oxygen and create a reduction atmosphere. The pit fire then needs to be left overnight, until the fire has burnt itself out.\u00a0 The pieces are then carefully removed.\u00a0 Washed and polished with wax.
\n\u00a0The bad: <\/em>it\u2019s a low fire technique. Enough to turn clay into ceramics, but low fire anyways.
\nThe ugly: <\/em>Protect you skin by wearing disposable rubber gloves. Make sure nobody is downwind, otherwise they will be breathing chemical fumes which could be poisonous.<\/p>\n

As we\u2019re based in a city, we only have electric kilns. And as these are the most used ones, we came up with a masterclass to teach you all related to kilns and industrial glazes. You\u2019ll find all the details here<\/a>. It\u2019s held by Muriel Dumahut, ceramicist, our studio manager and teacher.<\/p>\n

Hope you liked this post! Let me know if you\u2019re enjoying this newsletter format.<\/p>\n

Un abrazo! Paula<\/p>\n<\/div>

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