Loren JOnes on fri 6 nov 09
Thanks a million for all the responses so far. I want to give a little more=
info here to get a better idea what I'm missing. First off, I have fired a=
forced air downdraft kiln at least a 1000 times. No kidding. 15 years, two=
full kiln loads each week. I got really great results out of these kilns. =
The kiln I am presently firing is a natural draft downdraft. it has plenty =
of burner power. 4 Killum burners from a place in Denver. I am never sure w=
hat a good reducing atmosphere looks like without the forced air component.=
I look for that "flamey hazy" look that my teachers in Oregon taught me to=
look for. I found that with the forced air you could pressurize the kiln a=
nd get good reduction all around. Save for one spot near the back at the ou=
tlet the kiln was even. I think I way over reduce to make up for the lack o=
f pressurization. That's why I was puzzled by the lack of reduction on the =
outside of a bowl and the great color on the foot ring. I began
reducing this last load at cone 011, reduced pretty hard for 45 min. Good =
flame at the peep, little smoke. I than tried to keep in a mild reduction f=
or the remainder of the firing. I was protecting two lamps that were glazed=
in some of Steven Hills glazes. The last time I fired I got really bad res=
ults. See photos below, both cups have the same glaze combo. The lamps were=
stunners but the celadons were not. So... what am I getting at here! Can y=
ou all give me some pointers on what a good reduction atmosphere looks like=
in a natural draft kiln. Maybe a little more on firing schedules. Thanks a=
gain, Loren
http://www.lojoclayworks.com
http://www.lojoclayworks.etsy.com
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