My work is fired with wood in a train-style kiln with a reduction-cooling process. The train kiln, unique in its configuration, consists of an elongated horizontal ware chamber, an elevated firebox, and a stepped grate system. The unique position of the firebox in relation to the setting allows primary air to enter the firebox on top of the wood, which is then drawn downward through the fuel and into the ware chamber. This orientation is critical as it works with gravity and promotes an efficient ash deposition with less fuel.
I actively fire the kiln for 27 hours and then complete a reduction cooling cycle that adds 5 hours. For reduction cooling, the kiln is shut down and sealed with clay at the end of the firing. Very small pieces of kindling wood are added to the firebox to maintain reduction as the kiln cools. When the flame retracts from view, around the mostly closed damper, another stick is added. This is maintained until the kiln cools to 1600–1500°F (871–815°C). This has the effect of preventing re-oxidation in the cooling cycle until the oxides, primarily iron, can no longer change state, promoting the development of beautiful dark and often metallic tones on the slipped clay surfaces.
Ted Neal is currently a studio artist and kiln builder, and has been a professor of ceramics at Ball State University since 2006. To see more, visit www.tednealceramics.com.
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My work is fired with wood in a train-style kiln with a reduction-cooling process. The train kiln, unique in its configuration, consists of an elongated horizontal ware chamber, an elevated firebox, and a stepped grate system. The unique position of the firebox in relation to the setting allows primary air to enter the firebox on top of the wood, which is then drawn downward through the fuel and into the ware chamber. This orientation is critical as it works with gravity and promotes an efficient ash deposition with less fuel.
I actively fire the kiln for 27 hours and then complete a reduction cooling cycle that adds 5 hours. For reduction cooling, the kiln is shut down and sealed with clay at the end of the firing. Very small pieces of kindling wood are added to the firebox to maintain reduction as the kiln cools. When the flame retracts from view, around the mostly closed damper, another stick is added. This is maintained until the kiln cools to 1600–1500°F (871–815°C). This has the effect of preventing re-oxidation in the cooling cycle until the oxides, primarily iron, can no longer change state, promoting the development of beautiful dark and often metallic tones on the slipped clay surfaces.
Ted Neal is currently a studio artist and kiln builder, and has been a professor of ceramics at Ball State University since 2006. To see more, visit www.tednealceramics.com.
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