LOWFIRE / Raku - illustrated

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The flame is thick,slow, and smoky, filling half the chamber. It's easy to see which is the
hottest part of the kiln - the pieces in the direct flame are warping gently towards the
flame. On one occasion a shallow plate, leaning vertically against the wall, was turned
inside out by the flame brushing one side only. Some of the glazed areas are shiny and in
other parts of the chamber the glaze seems to be boiling and blistering, looking very
much like boiling mud pools. it seems that most glazes go through this boiling stage
before becoming fluid. It is difficult to see all the pieces as they are piled on top of each
other leaning on pieces of brick and touching each other and the walls of the kiln too.
One of the slips if peeling and crawling making an interesting surface. Some the pots can
be removed NOW. Those unglazed pieces do not need any more heat as their main
treatment is going to be smoking. Unglazed surfaces can also have salt thrown on them
before they are removed. They can be moved into a convenient position. Glazed pieces
can be repositioned for special effect, one to lean up to cause the fluid glaze to run in
lines down the form, another to receive more heat and soak in it. While in this heat glaze
can touch glaze with out them sticking together. Thats why many forms can be stacked
on top of each other in the chamber with out shelves. Thus much of the action and
design is taking place in the kiln with the flame itself. Long tongs are used to lift out
pieces and reposition the remaining pots as described above. The crudely made light
weight ceramic fibre door is replaced and the firing continues. The red hot glowing pieces
that have been removed are being worked on in the smoke.
LOWFIRE / Raku - illustrated

Once again the door is

removed and the contents
studies carefully.
Some more pieces are
removed and those
remaining can be salt-fired,
Salt. soda ash and tnt can
all be applied 1. into the hot
lire box
2 scattered into the
chamber or
3.applied In a concentrated
local area as part of the
design on a piece.
All methods give different
results and tremendous
variations of glaze surface
can be achieved. The kiln is
heated again for five or ten minutes so that the vapour can do its
work. These last pieces are removed by tongs and the chamber allowed
to cool down for a while.
Loading usually can commence as long as the next pieces have been pre
warmed
(usually on the roof of the hot kiln)
Meanwhile the red hot pieces are being worked on.
A smoking effect Is caused by the hot pieces of pottery being touched by
some combustible material. Anything that burns will serve the purpose
straw,sawdust. grass cuttings and leaves are commonly used. Black ad
grey markings are left on the surface as the fired clay is cooled
Completely enclosed or immersed in smoke, the pores of the hot,
immature clay immediately take on carbon and becomes black. The
shrinking glaze crazes and the smoke enters the the cracks and creates
an intricate network of black lines.
Pigments change colour.. Withdrawing the pot from the smoke enlivens
the whole surface when the air cleans away the carbon and the
Ever-changing shades of black and grey demand quick decisions-because
once you get below 500 degrees C the surface is too cool and the
effects freeze.

Unsatisfactory designs and surface can be returned to the hot kiln

LOWFIRE / Raku - illustrated
LOWFIRE / Raku - illustrated
LOWFIRE / Raku - illustrated
LOWFIRE / Raku - illustrated
LOWFIRE / Raku - illustrated