Deborah Thuman on sat 22 aug 09
My clay class started today. I thought it was very nice of the
university to start class on my birthday.
My teacher asked why I wasn't planning on doing a reduction firing for
my ^6 work seeing as to how I'm going to be learning to use the fully
manual gas kiln. Umm.... gee.... I've got no answer for that one.
Any one out there do reduction for ^6? If so, what are the advantages
or disadvantages? Many thanks.
Deb Thuman
http://debthumansblog.blogspot.com/
http://www.etsy.com/shop.php?user_id=3D5888059
William & Susan Schran User on sun 23 aug 09
On 8/22/09 11:14 PM, "Deborah Thuman" wrote:
> My teacher asked why I wasn't planning on doing a reduction firing for
> my ^6 work seeing as to how I'm going to be learning to use the fully
> manual gas kiln. Umm.... gee.... I've got no answer for that one.
>
> Any one out there do reduction for ^6? If so, what are the advantages
> or disadvantages? Many thanks.
There are many people beginning to investigate ^6 reduction firing and ther=
e
are a few that have been doing it for years.
I'm switching from ^10 to ^6 at school this year. One reason is to save wea=
r
and tear on the equipment. Another reason is that there will be more color
options for the students, primarily when using underglazes. At higher
temperatures some colors are more difficult to achieve, yet at ^6 one can
produce a palette of colors nearly the same as ^10.
Bill
--
William "Bill" Schran
wschran@cox.net
wschran@nvcc.edu
http://www.creativecreekartisans.com
Marcia Selsor on sun 23 aug 09
I fired ^6 reduction for 20 years. The advantage is much smaller gas
consumption than ^9.
Firing time is faster as well. Glazes are just as rich. You can see
some exaples in Michael
Bailey's Oriental Glazes. I have several ^6 pieces in that book.;
Celedon, Copper red,
Iron red, etc. John Britt has begun working with ^6 and broaden the
spectrum.
Marcia Selsor
> Any one out there do reduction for ^6? If so, what are the advantages
> or disadvantages? Many thanks.
>
> Deb Thuman
> http://debthumansblog.blogspot.com/
> http://www.etsy.com/shop.php?user_id=3D5888059
>
Marcia Selsor
http://marciaselsor.com
Snail Scott on sun 23 aug 09
On Aug 22, 2009, at 10:14 PM, Deborah Thuman wrote:
> My teacher asked why I wasn't planning on doing a reduction firing for
> my ^6 work seeing as to how I'm going to be learning to use the fully
> manual gas kiln. Umm.... gee.... I've got no answer for that one.
>
> Any one out there do reduction for ^6? If so, what are the advantages
> or disadvantages? Many thanks.
I used to do a lot of reduction in the ^4 range, up
to ^6. Having a fuel-fired kiln is a great thing,
because of its versatility. It takes more attention
than an electric - constant checking of the air/gas
mixture and damper settings, especially in
changeable weather - but opportunities to use
the full range of atmospheres as you choose.
And one of those choices is oxidation (a.k.a
neutral atmosphere). Reduction is just a way to
manipulate the chemical composition of your
work at a different stage of the process: during
firing instead of during mixing or application.
Some effects (copper reds, carbon trap shinos,
etc) are really only feasible with reduction.
It also allows some nice effects on bare clay,
'amping up' the look of iron-bearing bodies.
Just because the option is there, however, doesn't
mean it's an obligation. Oxidation allows for other
color effects not feasible in reduction, such as
stain-based reds, oranges, purples, etc. It also
permits more reliable duplication of results, which
is handy if you are trying to make a set or series,
or firing one piece in multiple sections. It is also
easier in some fuel kilns to get a fully neutral
atmosphere throughout, while reduction can be
quite variable from top to bottom or back to front.
(This depends on the kiln, of course.)
Deb, I recall that you are at altitude, in northern
New Mexico where I am from. You should be
aware that many commercially-made gas kilns
are designed for low altitude and often lack
adequate secondary air to fire in a true neutral
atmosphere, especially at higher temperatures.
Handmade kilns can also suffer similar issues if
built based on low-altitude plans. Weather has a
big impact on this as well: a kiln that's just fine in
good weather may not be adequately ventilated
if a low-pressure system comes through. At ^6,
you are probably OK, but ask your classmates
and instructor - is true neutral really a viable
option in this particular kiln?
Mainly, though, I get the impression that you want
to stick with what's familiar. Cut it out! You are in
an enviable position: you do not have to support
yourself on the sale of your work, and you are in
school. It's an environment full of equipment that
most people will never own in their personal
studio. Not because it's unaffordable, but because
in your own studio, you have to focus and specialize.
You can't just have one of everything on the offhand
chance you will want to try it later. That's why a
well-equipped school studio is so great! You can
experiment with the options and develop your work
with a freedom you will never have elsewhere. You
can also take chances, and try things just to see how
they turn out. Don't waste the opportunity! If you've
never tried reduction, do it. You may hate it, but try
it first. No opinions from people on the Internet
(including mine!) or even those of your classmates
and teachers can take the place of your own
experience applied to your own work.
Besides, if you've never fired that kiln before, you
may end up with reduction purely by accident...
Give reduction a shot, and set aside what you think
your work ought to look like. Observe what you get
with a fresh eye, and then decide where to go from
there.
-Snail
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