Reduction Firing
Firing a kiln for part of its cycle with an atmosphere having no free oxygen. In traditional ceramics reduction firing requires a specially designed fuel fired kiln that restricts the flow of incoming air so there is enough to burn the fuel and no more (in some cases it is restricted so that is actually less than enough to introduce carbon into the atmosphere). Reduction is generally done to produce the visual effects associated with reducing metallic glaze and clay body components to their metallic state and for variegated effects in glazes. These effects include some colors and effects impossible or difficult to achieve in oxidation (e.g. copper reds, earthtone colors, dolomite mattes, iron speckling in clay bodies). Many people fire their gas kilns up in oxidation but at two places in the ramp (e.g. cone 06, 10) they reduce the kiln for a period (for body and glaze reductions). Others begin reduction firing at (e.g. at cone 06) and continue it to the end and then oxidize for a short period to clear the kiln. Out Bound Links
In Bound Links
Pictures
Alberta slip fired in reduction (left) is much darker than in oxidation at cone 10.
An example of how the same dolomite cobalt blue glaze fires much darker in oxidation that reduction.
An example of the effects of reduction firing on two clays with the same glaze, one is a iron brown body, the other a grey stoneware.
The same glaze in reduction (left) and oxidation at cone 10.
Copper red reduction glaze cone 9 courtesy of Angela Walford
Two buff stoneware clays, cone 6 (left), cone 10 reduction (right).
Two brown stonewares, cone 10 reduction (left) and cone 6 oxidation.
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