Maggie Furtak on fri 23 oct 09
My kiln is well-vented, but there are always going to be some fumes seeping=
into the main studio space, so...
Anybody know if there is any research on what temperatures will have the mo=
st hazardous kiln fumes for different materials? I'm wondering if it's wor=
th figuring out, so that I can start my kiln at such a time as to be eating=
lunch out of the studio at the time of worst exposure, or be done for the =
day, and just popping my head in the door now and then to check my cones wh=
en it's particularly whiffy in there.
Obviously there are lots of variables of clay, glazes, and firing temperatu=
re, but does anyone know if there is general information on this? I'm talki=
ng plain vanilla electric oxidation ^6 firings with tenmoku, cobalt blue, a=
nd copper green glazes. No lusters, no salt, no lead or other particularly=
nasty ingredients.
-Maggie
jonathan byler on fri 23 oct 09
it seems to me the worst stuff coming out of our bisque firings is
between about 1200 and 1700 F when the sulfur compounds in the clay
are burned out.
On Oct 23, 2009, at 3:04 PM, Maggie Furtak wrote:
> My kiln is well-vented, but there are always going to be some fumes
> seeping into the main studio space, so...
>
> Anybody know if there is any research on what temperatures will have
> the most hazardous kiln fumes for different materials? I'm
> wondering if it's worth figuring out, so that I can start my kiln at
> such a time as to be eating lunch out of the studio at the time of
> worst exposure, or be done for the day, and just popping my head in
> the door now and then to check my cones when it's particularly
> whiffy in there.
>
> Obviously there are lots of variables of clay, glazes, and firing
> temperature, but does anyone know if there is general information on
> this? I'm talking plain vanilla electric oxidation ^6 firings with
> tenmoku, cobalt blue, and copper green glazes. No lusters, no salt,
> no lead or other particularly nasty ingredients.
>
> -Maggie
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