(download
the msword file)
I have had the privilege of working with four
different wood kilns at the Archie Bray Foundation
over the past 18 years. Each kiln has offered
a unique atmosphere for rich glazes, and a seemingly
endless variation for surface and color.
The first kiln I will discuss is the old chamber
wood kiln built by Dave Cornell in the early
1970’s. This is a downdraft kiln with about
50 cu ft of stacking space, and an internal firebox.
We fire with edge cut fur slabs, and use 1-2
cords over a 24-30 hour period, firing in a reduction
atmosphere. Successful glazes in this kiln include
classic variations of Hamada Green, St.Johns
Black, 1234 Celadon, Bray Shino, and Reitz Satin
Matt Blue. I also use a local slip clay from
the Missouri River Gates of the Mountains area,
that produces a lovely red ash type glaze.
The second kiln I will discuss is the wood-soda/salt
kiln built by Mackenzie Smith and Jeanette Rakowski
in 1994. This is a catenary arch cross-draft
kiln with an internal firebox that and a stacking
space of about 50 Cu ft. We fire the kiln in
12-15 hours in a neutral atmosphere with about
1 cord of 1x4 pine and fur end-cuts from a source
in Helena. From cone 9-11 we introduce a soda
water solution of about 2 lbs in 1 gallon of
water, sprayed directly on the wares, followed
by 1-2 lbs of rock salt burritos in the firebox.
Glazes produced in this kiln include variations
of Val’s Satin Matt (Ben’s Blue),
Manganese/Copper saturate slip, Linda’s
Yellow, Ipanema Green, Rick Haynes Satin White,
several variations of Oxidation celadon, Redart
Wash, Amoco Radiant Red underglaze, and a local
granite stone tenmoku developed by Morgan Ringer.
The third kiln I will discuss is the large tunnel
kiln built by Dean Adams and Dave Porter in 1995.
This is a above ground climbing tunnel approximately
20 ft long, with a generous front firebox area,
and 2 side stokes. The stacking space is approximately
150 cu ft of stacking space. The kiln fires to
cone 10-13 in a neutral- reduction atmosphere
for anywhere from 3-9 days, and burn between
5-12 cords of pine and fur.
Glazes produced in this kiln include Bray and
Porcelain Shinos, Ipanema green, Amoco Radiant
Red Underglaze, several variations of Oxidation
Celadon, and the Morgan Ringer Tenmoku.
The last kiln I will discuss is the new train
kiln built by Ben Krupka and Irish Flynn in 2005
in the new wood kiln area south of the Shaner
Studio. This kiln has approximately 60 Cu ft
of stacking space, with a large front bourry
firebox, and 4-5 optional side-stokes. The kiln
fires in a reducing atmosphere to cone 12 in
30-50 hours and burns 3-6 cords of fur slabs
and cord wood. The glazes produced include Bray
shino, Gustin shino, Oxidation celadon over a
Redart wash, Ringer tenmoku, and manganese copper
slip.
In conclusion, firing glazes in the wood kiln,
as in any kiln, takes a great deal of testing
and careful observation to understand what will
work well in different locations in the kiln.
Developing your palette takes time. The atmosphere
created in the wood fired kiln is capable of
producing exquisite, unique glaze surfaces, quite
different than what is produced in gas or electric
fired kiln atmospheres. Firing with wood tends
to demand more attention during the firing process,
and for myself, this investment of time helps
create more meaning in the work.
WOODFIRE GLAZE &SLIPS
(download the msword file)
cone 9-10
Archie Bray Shino
F-4 Feldspar 18.4
Spodumene 15.2
Soda Ash 4
Neph Sy 45
Ball 16.4
Ben’s VC Matt Blue
Cornwall 46
Whiting 34
EPK 20
Cobalt carb .25
Chrome ox .125
Titanium ox 6
Porcelain Shino
Spodumene 30
EPK 5
Soda Ash 8
Neph Sy 39
Ball 17
Reitz Satin Matte Blue
Custer Feldspar 45
Whiting 20
EPK 13
Cornwall 22
Rutile 2
RIO 2
Cobalt Carb .5
Yellow Celadon
Custer 26
Whiting 26
EPK 7
OM-4 20
Flint 21
Yellow Iron 10
Bent 2
Redart Wash
Apply thin to medium coat on bisque
also nice thicker as a glaze
Redart 70
Whiting 30
Oxidation Celadon
Barium 6.1
Dolomite 3
Lithium 2
Whiting 13.1
Custer 21.2
Petalite 21.2
EPK 15.2
Flint 18.2
(green-yellow)
RIO 2
(green)
Rutile 4
Copper 2
(purple-blue)
Copper 1
Cobalt .125
Ipanema Green
K-200 spar 47
Whiting 23
Dolomite 14
Bone Ash 3.5
Silica 11
RIO .5
Copper Carb 5
Bentonite 2
Linda's Yellow
Dolomite 3.12
Whiting 10.08
Custer 19.2
EPK 8.46
Flint 19.14
Mason 6464 3.6
Rick Haynes Satin White
Whiting 8
Flint 30
Neph Sy 45
Talc 7
Dolomite 10
Bentonite 2
Epson Salts 1
cup/10,000 gr.
Shaner Clear
F-4 Feldspar 30
Whiting 16
Dolomite 5
EPK Kaolin 14
Flint 30
Zinc Oxide 5
Bentonite 2
St. John's Black
Alberta Slip 85
Neph Sy 17
Cobalt Oxide 5
Manganese Slip
Manganese Dioxide 100
Copper Carbonate 75
EPK 50
Ball 25
Oestreich White Slip
Apply to wet-leatherhard
EPK 40
Ball 30
Custer 15
Flint 15
|
