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successful tips &

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raku firing

how to raku and select

raku pottery clays, glazes,
kilns, and combustibles
Successful Tips and Techniques for Raku Firing:
How to raku and select raku pottery clays, glazes, kilns,
and combustibles
Raku firing is exciting and fun. Whether you’re raku firing in your own studio or taking part in a group raku firing at a
school, workshop or community center, raku offers many rewards. Raku firing is one of the most exciting processes in
ceramics. After you place your pottery into a hot raku kiln, the anticipation builds as you wait for that final moment when
the intense heat begins to melt the raku glazes. When you remove the pieces, you can feel the heat and hear the pings
of your red hot work rapidly cooling, then it’s into the raku combustibles for a round of flame and smoke. Many surprises
await you as you clean the surface and reveal the wonders of raku pottery.

How to Raku
by John Ramer Sherrill
Raku pottery is tremendously popular. The wide range of raku glazing and raku firing methods,
and the surprises that come from every firing hold the interest of potters everywhere. While
many achieve consistent results, many potters as well as students have been unhappy with
their raku attempts. Here is a rundown of the basics you need for success at firing raku.

Raku Clay
by Bill Jones
The raku firing process requires a porous non-vitrified clay that can withstand rapid heating and
cooling without cracking or breaking from the thermal shock. By this definition, any clay that
can withstand such stresses can be considered a raku clay; however, some clays will provide
a greater degree of success. When deciding on a suitable raku pottery clay, your chances for
success increase with bodies specifically formulated or adjusted for the raku pottery process.

Raku Glazes
by Steven Branfman
A raku glaze is any glaze you use in the raku pottery method. It doesn’t have to be a glaze
specifically designed for raku, formulated to fire at the temperature you fire your raku ceramics
to, nor homemade or commercial. Read how your raku glaze can be most anything. The key to
success is understanding the raku firing process and the ability to predict how a particular glaze
reacts to that process.

Buying a Raku Kiln

There are many configurations for raku kilns—top loaders, front loaders, top hats, car kilns, and clam
shells. Here’s a brief overview of what you need to know to buy the raku kiln you need.

A Colorful Variation on the Naked Raku Firing

Technique
by Kate & Will Jacobson
Naked raku is a variation of the raku technique in which a slip is applied to the pot before it is
placed in the raku kiln. The slip cracks and breaks apart during the firing and is chipped off after
to reveal a blackened crackle pattern. Kate and Will Jacobson figured out a way to add some
color and drawn imagery in the naked raku technique.

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 How to Raku
by John Ramer Sherrill

Spring Swallowtails,
15 in. (38 cm) in height,
with clear glaze over
polychrome slips, and
burnished lid carbon-
blackened during post-
firing reduction, by John
Ramer Sherrill.

R
aku pottery has become tremendously popu- phy, wondrous as it may be, but I know for certain that
lar in the United States. The wide range of some want to know how to do raku.
glazing and firing methods, and the surprises
that lurk in every firing hold the interest of Select a Raku Clay
potters year after year. A wide variety of clays can be used to make raku pottery.
Many achieve consistent results, but I’ve talked to Be aware, though, that the clay used determines much of the
dozens of established potters as well as students who have character of the finished piece.
been unhappy with their raku attempts. Most complained Most suppliers sell a body designated as “raku” clay,
that they had been unable to find specific information to which is usually a grogged clay that includes Kyanite. It is
properly guide them in their efforts. the clay of choice for really massive raku pieces. Suppliers
For my own early efforts, I obtained several books on also usually have bodies that are designated as “ovenware”
the subject, but found them frustratingly long on philoso- clay. These clays, which contain less grog (easier on the
phy and short on technique. I still couldn’t properly fire hands), often make an ideal raku body. I use ovenware clay
a raku pot, but I could use my new-found knowledge of almost exclusively.
Zen to cope with the situation. I don’t believe there are For more information, see “Raku Pottery Clay” on
many raku enthusiasts who are interested in my philoso- page 5.

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Form and Dry Raku Pieces
Raku pots are usually wheelthrown or handbuilt. I’ve
heard from several sources that cast pieces cannot be raku
fired, but I’ve never had a problem with them although
you’ll need to test them.
Some consideration needs to be given to proper drying.
As a general rule, drying pots of 3 pounds or less does
not require special handling. I often force dry and bisque
fire the same day. Flat pieces and large pots must be dried
slowly and evenly, though. Large ovenware pots will
often survive fast drying, but the stresses that are thereby
induced will cause them to crack at a later stage.

Decorate with Slips

If you want a colorful pot, you may use oxides or stains
in the glaze, but they may mask the dark crackles to some
degree; some almost entirely obliterate them. For that rea-
son, I use colored slips under a clear glaze. My slip base
is simple—1 part ball clay to 1 part EPK kaolin. Just mix
it with water to a cream consistency and add stain. I use
commercial stains in percentages ranging from 2% (dark
blue and green stains) to as much as 30% (pink stains).
In order to choose the stains that will work well, it is
good to know their chemical components. Most com-
mercial stains will block carbon to some extent, with the Webbed Jar, 14 inches high, wheel-thrown ovenware clay,
worst offenders being those that contain iron or vanadi- raku fired; blackened areas were taped to resist the glaze.
um. Vanadium is present in most warm-tone commercial
stains, so you should use titanium yellow, praseodymium
yellow or zirconium yellow in combination with other Select a Raku Kiln
vanadium-free stains to formulate your own palette. Because red-hot pots are removed from the kiln, it is
Ideally, the slip should be brushed or dipped on at the apparent that many models simply are not appropriate
leather-hard stage, but it works on bisqueware as well. for raku firing. Large kilns of any type, when opened at
When brushing, you should apply three coats for dark temperature, radiate heat so fiercely that it would be fool-
colors (when you don’t want the body showing through) hardy to attempt rakuing. Top-loading kilns are not ideal
and two coats for lighter colors (a warm-tone body show- since you must position yourself above the kiln in order to
ing through some, such as pale green, can be very attrac- reach inside, and the rising heat can be overpowering.
tive). The pot should then be bisque fired in the cone 08 Small (2 cubic feet or less) front-loading electric kilns
to cone 04 range. may be used, but most raku firing is done in gas kilns es-
pecially constructed for that purpose. See “Buying a Raku
Glaze Raku Ware Kiln” page 8.
After bisquing, the pot is ready for glazing and the final
firing. Glaze should be applied fairly thickly. If you dip, Fire a Raku Kiln
the consistency should be about that of thick cream, Raku kilns, unlike conventional kilns, are usually loaded
and one dipping should suffice. If you brush, the glaze on a single level, and spaces between pots are left a bit
should be somewhat thicker, and two or three coats wider in order to facilitate their removal. It is certainly
should be applied. Evenness of application is not par- possible to use multiple levels, but it isn’t worth the
ticularly important. hassle, as far as I am concerned.
It is somewhat traditional to leave the area near the Traditionally, the maturity of the glaze is determined
base unglazed. This will turn quite black in a good post- visually. The kiln is opened, and the pot surfaces are ex-
firing reduction, when carbon penetrates the still-hot pot. amined for complete glaze melt. If mature, the glazes will
Other areas may be left unglazed as well. These areas may appear wet and reflective. I strongly recommend using
be random or symmetrical, and can greatly enhance the a pyrometer in conjunction with this technique, noting
beauty of the finished piece. the temperature at which maturation occurs. After a few

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firings, you will need to look only at the pyrometer to A hat and face mask are not absolutely necessary, but are
determine unloading time. There is some medical evidence a good idea. I prefer to remove large pots by hand, but for
that prolonged or repeated staring into a red-hot kiln can this, special heat-resistant insulated gloves must be used. For
damage vision. smaller pots, long metal tongs are suitable.
When examining the pot for complete glaze melt, Reduction techniques vary quite a lot, so I will simply
look for bubbles in the glaze, as these can mar an oth- describe my own; modify as you wish. I remove the pot
erwise perfect pot. Even if the bubbles burst when the and place it on a fire proof surface, then wait for cracks
kiln is opened, unsightly craters will remain. Bubbles to appear in the glaze on the rapidly cooling surface. In
are almost always present on my pots because I fire bright sunshine, these cracks generally appear as shiny
rapidly, so I simply assume their presence, and take lines. They will announce their appearance with audible
steps to remove them. pings or pops.
To accomplish this, partially open the kiln just long Only then do I place the pot into the reduction recep-
enough to drop the temperature by 200°F or so (I give it tacle. This action takes place for a small pot, such as a
about a 10-second count). Close the kiln and bring the bud vase, in as little as 10 seconds. A very large vessel
temperature back up to near maturity. Give it a couple (5 pounds and up) may require 90 seconds or even lon-
of minutes for the craters to heal. If you have clusters of ger. This timing from kiln to post-firing reduction is very
bubbles, you may have to repeat the procedure. important, as it will, in large part, determine what kind of
crackle effect will be achieved. I find
Post-firing Reduction in that the sequence I have described
Raku Firing recipes gives deep, dark, widely-spaced
The final phase of raku firing requires crackles usually interspersed with
the still-hot pot to be placed in com-
The following gloss glazes are dependable networks of finer lines. Varying the
and work well with underglazes and timing should soon show you how to
bustible materials inside a fireproof colored slips.
receptacle that can be covered, the get the effect you prefer.
tighter the better. The combustible Clear Raku Glaze
material can be sawdust, straw, leaves, Cone 06 How to Quench
newspapers or anything else that Gerstley Borate . . . . . . . . . . . . . . . 70 %
Plastic Vitrox Clay . . . . . . . . . . . . . 30
a Raku Pot
readily catches fire. I prefer a bed of A lot of pots are lost in the raku step
100 %
sawdust covered with crumpled news- called “quenching.” After reduc-
papers, but I suggest trying different Translucent White ing for a minute or more, the pot is
materials to discover what best suits Raku Glaze removed with tongs and submerged
you. See “Finding the Right Combus- Cone 08 immediately in a container of water.
tibles for Raku Firing” on page 16. Gerstley Borate . . . . . . . . . . . . . . . 80 % The water hisses and bubbles, and
Cornwall Stone . . . . . . . . . . . . . . . 20
In any case, the bed of combustibles the hot pot rolls about as if in pain.
100 %
should be prepared in advance of the Those with narrow mouths will
firing. Clear to Cloudy gyrate wildly, and will sometimes
Post-firing reduction is where the Raku Glaze rocket themselves clear out of the
novice usually runs into problems. It Cone 08 container. All this commotion by a
is potentially a dangerous process, so Gerstley Borate . . . . . . . . . . . . . . . 75 % suddenly animated pot is undeniably
always take precautions and exercise Feldspar (Soda or Potash) . . . . . . . 25 a lot of fun, but I no longer enjoy it
100 %
extreme care. You will be work- because I no longer do it.
ing closely with temperatures up to These days, I just leave small pots
1800°F, so you must train yourself in the tightly covered reduction
to touch nothing without first considering whether or chamber for about 5 minutes, remove them and place them
not it may be hot. After a long rakuing session, I actually on the ground to cool. I leave large pots in reduction for
catch myself hesitating before entering my home, consid- up to 30 minutes, long enough for them to drop below
ering whether or not the doorknob is hot. It is a useful the quartz-inversion temperature (1063°F), because that is
habit to cultivate. when a large exposed pot is in serious danger of cracking.
Cover as much of your body as possible (always wear long As far as I’ve been able to determine, the only thing I lose
sleeves), but don’t wear polyester. Taste in clothing is not by not quenching pots are pots and, yes, a bit of fun.
the problem; the problem is polyester will melt and conform After the pot cools enough to handle, all that remains is
to your body like hot glue. Heat-resistant gloves are a must. to scrub it vigorously with a metal pad or wire brush.

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 Raku Clay
by Bill Jones

T
he raku firing process requires a porous nonvitri- Between approximately 2000°F and 2200°F the material
fied clay that can withstand rapid heating to low- becomes more dense and glasslike, thereby losing some
fire temperatures (approximately 1700º–1950ºF) of its ability to withstand thermal shock.
and rapid cooling without cracking or breaking
from the thermal shock. By this definition, any clay that Tips for Buying Raku Clay
can withstand such stresses can be considered a raku clay; Most clay suppliers offer a range of raku clay bodies
however, some clays will provide a greater degree of suc- that can usually match the qualities you’re familiar with
cess, especially those with a high fireclay content. It’s im- in your regular body. They will be able to guide you
portant to recognize that when deciding on a suitable raku either through their product descriptions or in consulta-
clay, your chances for success increase with bodies specifi- tion, and many clay producers will even custom blend a
cally formulated or adjusted for the raku process. clay from your own recipe.
Plasticity: Clays with coarser grog are more suitable
Additions for handbuilding, while finer grog makes a better throw-
Most clay bodies can be used for raku by adding up to ing clay. Some commercial clays are suitable for both.
50% grog. Grog, which is crushed, fired clay, opens the Thermal shock: The larger and thicker the pieces, the
body thus making it less prone to thermal shock. Other more suitable and shock resistant the clay has to be. In-
materials you can add to increase the ability of a body to creasing the shock resistance means adding more nonplas-
withstand thermal shock include silica sand and kyanite. tic refractory material, which may decrease plasiticity.
Silica sand can be used as a substitute for grog, espe- Color: The color of the raku clay body influences
cially at the lower raku temperatures. Because it’s not the colors of your glazes. Light-colored or buff bodies
as absorbent as grog, you may recognize some gains in produce lighter, more brilliant glaze colors and bring
plasticity. Kyanite is a refractory material that matures out subtle shades, while darker clay bodies have a more
at about cone 36. One of the characteristics of kyanite muting affect. Raku clays made from buff stoneware,
is that it expands when heated, which counteracts some kaolins and ball clays produce lighter colors, while add-
clay shrinkage. It also creates a network of needle-like ing earthenware clays and colorants like iron oxide or
crystals allowing you to make larger forms. Commercial burnt umber will create darker bodies.
raku clay bodies contain one or a combination of these Texture: Adding grog to a clay body affects the texture
ingredients depending on other qualities you need in a since the grog is already fired and does not shrink. While
body, such as the ability to make large work, or whether this is not much of a factor with fine or medium grog,
you’re throwing or handbuilding. You can add any of it is more noticeable with coarse grog. If you’re looking
these materials to an existing body simply by wedging for smooth texture, you’ll want a body with fine grog,
them in. Using a pug mill or clay mixer provides a more sand or kyanite. You can also create unusual textures by
homogenous mix, and dry batching provides a more wedging in sawdust or paper pulp, which also opens the
consistent mix. body and increases resistance to thermal shock.
As with any clay or glaze, you should test a raku body
Bisque Firing before you invest a sizeable amount of energy in forming
Most raku clays can be fired as high as cone 6–10 since work. Many suppliers offer samples that you can test,
they are formulated as stoneware clays. But clay is clay or you can try out different additions to your existing
and it should be noted that when bisque firing for raku, body. Mark all of your samples and keep good records
you should not bisque fire higher than cone 04 (1950°F). of your results.

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 Raku Glazes
by Steven Branfman

Sprayed stoneware
glaze under clear
raku glaze, by
Steven Branfman.

I
n my workshops, I get asked many questions but nev- raw clay. Deciding when the glaze has melted takes prac-
er “What is a raku glaze?” Why? Because everyone tice and is best done by observation, though many potters
knows what a raku glaze is. Right? It’s a glaze that use pyrometers to aid in making that decision. Raku is
is labeled “raku.” Wrong. It’s time to expand your exciting, often unpredictable to the novice, and fun to do.
thinking and understand exactly what this whole raku
glaze thing is about. Applying Raku Glaze
A raku glaze is any glaze you use in the raku method. It Glazing work for raku can be done by all the methods
doesn’t have to be a glaze specifically designed for raku, known—dipping, pouring, brushing, spraying, splashing,
formulated to fire at the temperature you fire your raku dripping, sponging—you name it. Glazes also can be used
to, nor homemade or commercial. It can be most any- alone or in combination. Keep in mind that the applica-
thing. The key to success is understanding the raku firing tion of a glaze has a direct effect on the result.
process and the ability to predict how a particular glaze
reacts to that process. Dedicated Raku Glazes
Raku, as practiced in the West, is a low-fire method in Glazes specifically designed for raku fall into two catego-
which we quickly heat the ware, remove the ware from ries—homemade and commercially prepared. If you mix
the kiln when the glaze has melted, and perform some your own, you’ll find scores of recipes. Search the inter-
type of post-firing process to the piece. The post-firing net, ask friends, look in any book on glazes or raku, and
phase is usually an immersion in an organic combustible look in magazines. In no time you will find more glazes
material to affect the final outcome on the glaze and the than you could use in a lifetime. Of course, to mix your

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Multi-layered, brushed, commercial low-fire glazes.

own glazes you must have a stock of materials, mixing

paraphernalia, knowledge, and interest. If this doesn’t
turn you on there are myriad manufacturers that produce
almost as many raku glazes. The advantage of using com- Brushed stoneware glaze under clear raku glaze.
mercial glazes is that you are given instruction on how to
use the glaze, you have a sample of the fired glaze to help
guide your results, and the formulation (although not
the results!) will be consistent time after time. Of course,
commercial glazes are a bit more expensive than mixing
your own. stoneware glazes as slips. Over the glaze, apply a clear or
white raku or other low-temperature glaze. The low-tem-
Low-Fire Glazes for Raku Firing perature glaze causes the high-fire glaze to melt giving you
Glazes used in the raku process need not be “raku” a new palette of colors to work with.
glazes at all. At its core, raku is a low-temperature firing
method. The fact that we remove the ware from the kiln Other Glazes for Raku Pottery
while the pots are hot and the glaze is molten is irrel- In addition to glazes, slips, engobes, underglazes, over-
evant. Understanding this opens up a whole new world glazes, china paints, underglaze pencils, oxides, and stains
of glazes. Any glaze that’s formulated to fire at the low are all viable in the raku process.
temperature of raku can be used. First, you must decide at
what temperature you are firing. Most raku is done in the Raku Pottery Food Safety
cone 010–06 range. Begin by choosing glazes that both No matter what type of glaze or decorative material you
appeal to you in color and that fire in your range. You use, raku is inherently unsafe for use as domestic ware.
will have to experiment but I have never found a glaze The rapid firing, removal of the ware, and subsequent
that I couldn’t use successfully. post-firing phase all contribute to fragility, porosity, and
thin, easily flaked glaze surfaces. Not all materials used
High-Fire Glazes for Raku Firing in raku glazes are toxic. In fact, most are not. Confusion
We are not limited only to glazes that melt at the low tem- arises when you realize that over the centuries some of the
peratures. With greater understanding of the raku pro- most prized teabowls by tea masters have been raku fired.
cess, even mid-range and high-fire glazes can be used in Be safe, and think of your raku ware as decorative and
the low-temperature range of raku. Try using your regular not functional.

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 Buying a Raku Kiln
by Steven Branfman

Unloading a top-hat raku kiln.

R
aku firing is expressive, exciting, and fun. consider whether you’ll be firing alone, with an assistant,
Whether you’re rakuing in your own studio, or or with a group.
taking part in a group firing at a school, work-
shop or community center, raku offers many re- Configurations
wards. But the process requires more than just enthusiasm; There are many configurations for raku kilns—top load-
you need the proper equipment and tools to make the event ers, front loaders, top hats, car kilns, and clam shells.
successful. If you’re interested in getting started with raku Some top hats have pulley systems, springs, counter
or in adding raku to your program, here are a few pointers weights, and guiding tracks to raise and lower the cham-
for getting off to a good start with the right kiln—the most ber. Without the lifting mechanism, a large top-hat kiln
important tool you’ll need. requires two people to safely lift the body off, while
smaller kilns require only one person. After gaining
The Basic Raku Process experience, most raku potters gravitate to one specific
With raku you begin by placing your work in a cold kiln style and design. The important thing with any kiln is that
and bringing it up to temperature, approximately 1800– you are comfortable with its workings. It must accom-
1900ºF. The rate at which you attain this temperature is modate your work. It must be possible to safely open the
based on a variety of factors: size of the work, size and extremely hot kiln, remove the contents, reload, and close
type of kiln, burner output, etc. A raku session usually it up again losing as little heat as possible. Before buying
consists of firing more than one load, so the ability to pre- or building a kiln, do as much observation, participation,
heat the waiting work, unload the hot ware safely, reload, and research as possible.
and then reheat the kiln all need to be considered. The
choice of fuel—natural gas, wood, electric or propane— Temperature
is important because each of these carries limitations Even though most raku firing takes place in the cone
as well as benefits. You’ll need to consider the physical 010–04 range some of the kilns on the market are rated for
location of the kiln so that it can be placed with ample higher temperatures—up to cone 10. While some kilns are
space around it for safety and space to work. And finally, designed specifically for raku, others were originally de-

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signed as stoneware kilns that can be used for raku or were
modified for raku. You’ll need to check with manufacturers
about the full capabilities of their kilns. Raku Kiln Manufacturers
Axner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.axner.com

Fuel Bracker’s Good Earth Clays . . . . . . . . . . . www.brackers.com

Ceramic Services . . . . . . . . . . . . .www.ceramicservices.com
Raku kilns can be fired with natural gas, wood, propane Clay Art Center . . . . . . . . . . . . . . . . www.clayartcenter.net
or electric (see page 36). If using propane, you’ll need to L&R Specialties, Inc. . . . . . . . . . . . . . . . .www.claydogs.com
purchase or rent a tank. While a 20 lb. tank works on Laguna. . . . . . . . . . . . . . . . . . . . . . . . . . . www.laguna.com
Mile Hi Ceramics, Inc. (Zen Kilns) . www.milehiceramics.com
warm days or with smaller kilns, it is recommended that
Nabertherm . . . . . . . . . . . . . . . . . . . www.nabertherm.com
you get a larger, refillable tank, or purchase two or three New Mexico Clay Co. . . . . . . . . . . . . . . . . www.nmclay.com
smaller tanks and gang them together with the appropri- Olympic Kilns . . . . . . . . . . . . . . . . . . . . www.greatkilns.com
ate connectors. You can take 30, 40, 60, 70, and even 100 Seattle Pottery Supply . . . . . . . . . . . www.cruciblekilns.com
pound tanks in for refilling. With propane, more surface Sugar Creek Industries (Good Kilns) www.sugarcreekind.com
area in the tanks means more gas will be produced assuring Summit Kilns . . . . . . . . . . . . . . www.swiftweb.com/summit
Ward Burner Systems . . . . . . . . . . . . www.wardburner.com
a steady supply. This is especially important as you get into
larger kilns with bigger burners. With natural gas, you are
limited to the available pressure and location of a gas line,
but there is some flexibility because you can lead a gas hose
to the burner. not only build a kiln, but also essential extras like tongs,
furniture, gloves, etc.
Burners
Burners are rated by their output, which is measured in Safety
Btu’s (British thermal units). Natural gas and propane use Raku is inherently a dangerous activity, but no more so
different orifice sizes so you’ll need to specify which kind than working around a bonfire. If you purchased a com-
of fuel you’ll be using. Kiln manufacturers have done the mercial kiln, you’ll need to read, understand, and follow all
engineering for their kilns and have matched the appro- safety instructions provided by the manufacturer because
priate burner(s) with the unit, taking size, insulation, and their warnings are based on experience and following them
temperature range into consideration. Many manufacturers assures an accident-free experience. If building your own, be
also offer regulators, gauges, and safety features with their sure that you’re comfortable and confident in your design
burner, which are described in their literature. If you’re and experience. The appropriate clothing, gloves, and eye
building your own kiln, instructions should include burner protection are critical for protection against the kiln’s heat
specifications. If not, consult with a burner supplier. Kiln for any of those handling the work, and in both solo and
size, construction materials and type of gas being used is all group situations, attention must be paid to the “choreogra-
the information they will need. phy”—the dance—of the raku firing process. It is certainly
not the time to be tripping over one another.
Electric
While any electric kiln can be used for raku, there are some Cost
electric kilns on the market specifically designed for raku. Many commercial raku kilns are priced under $1000 with
Regardless, you’ll need to either locate the kiln outside, or a few fetching more than $2500 because of the need for
near an outside entrance so you can unload the kiln and higher end functionality. Building your own raku kiln from
quickly move your pieces outdoors for the subsequent post- a kit or rounding up all the pieces and parts can lower your
firing phase. One hazard with using a standard electric kiln costs. It is similar to buying a computer or any other major
is that the power must be shut off before reaching into it appliance; determine what’s in your budget and then look
with metal tongs to eliminate the possibility of accidentally around, but don’t forget to factor in tongs, gloves, goggles,
touching a live element. Some electric kilns are built with a shelves, and the other equipment you’ll need. We’ve listed
lifting mechanism, which raises the entire body of the kiln, most of the manufacturers and their website, and several of
including all the electrics, up and out of the way when load- these sell through distributors, which may be closer to home
ing and reloading. so you’ll pay less for shipping.

The Do-It-Yourself Option Test Drive

One option is to build a raku kiln from one of the many If you haven’t tried raku, but have always been fascinated by
plans available in books and online. We have two plans on the spontaneity, immediacy and simplicity of the craft, by all
our website at www.potterymaking.org, one for a fiber-lined means, sign up for a workshop. You’ll be amazed at what
wire-frame design, and the other a small fiber-lined barrel. a great activity this is and why it’s one of the most popular
Another inexpensive option for the DIY route is to purchase clay studio techniques around, enjoyed by thousands of pot-
a kit. Some kits, which include all the materials needed to ters of all ages.
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2014, Ceramic Publications Company | Successful Tips and Techniques for Raku Firing | 9
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 A Colorful Variation
on the Naked Raku
Technique
by Kate and Will Jacobson

After the bisque, we apply the resist slip and glaze combina-
Jacobson’s Two-Step Naked Raku tion that gives naked raku its special look. For the resist slip,
Technique we brush on a thin layer of our Amador throwing clay. It holds
on to the pot very well throughout the process and comes off
Although we have lived in many different places and experi- with ease after reduction. We have experimented with making
mented at length with materials, our approach to naked raku the resist slip from lots of different stoneware clays with excel-
is basically the same as it was 25 years ago. We like to throw lent results. Be sure that the pot does not feel too “cool” to the
thin-walled pots with cone 10 Laguna clays (Amador and touch before glazing.
WSO). When the pots are leather hard, we apply a thin layer
of colored clays. Most of these are colored porcelain, but we We use the 65% Ferro frit 3110/35% Gertsley borate glaze
also use some white stoneware and earthenware. The colored we developed in 1985. We have used other raku glazes and
clays are first brushed on and allowed to dry for 10–15 min- experimented with the percentages and variations of frits and
utes. By using the color clays “watered down” you can get the borates in the glaze, but have not found one that works better
color underneath to show through when burnished. than the original formula. The raku glaze is poured on to the
pots and may be brushed on to smaller pieces or sculptural
Once the colored clays have dried, they can be burnished. work. As the glaze has a lot of Gerstley borate, it quickly be-
The first burnish is just to smooth the clay out. Care is taken gins to set up or thicken within 30–45 seconds after it has been
to fill in any divots or rough spots. We then let the pot sit for stirred. So, time is of the essence in getting it to pour well.
1–4 hours to dry further, then burnish at least once more to
get a glossy surface. To retain this gloss, the pots need to dry We suggest you try two or three different thicknesses until
slowly for 1–2 days. you get a feel for what each layer will do in the fire. Generally,
the thinner layers will have tighter, smaller crackle lines than
We then bisque fire the pot to about 1427°F (775°C). We a glaze that was put on slightly thicker. If you go thick, the
find there is a fairly wide temperature variation, 122°–158°F crackles will be very large and spaced far apart. Thick glaze
(50°–70°C), that can be acceptable to us for our clay body & also can fire out with dots and shadowy areas with very little
style of work. crackles. There is simply no substitute for firing a lot of pots

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 1 2

Brushing on colored clays, prior to burnishing. Applying a thin layer of resist slip, Laguna clay WC370
Amador.

3 4

Pouring on a layer of glaze. Etching a design through the glaze.

5 6

Firing very slowly for the first 10 minutes, slowing rais- Orange peel, watch carefully as the glaze changes texture.
ing temperatures to 1364ºF (740ºC).

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 7 8

Reduction, smoking chamber filled with wood chips A light spray of water is applied and the glaze falls off
then covered with metal container, which allows the easily.
carbon to be trapped by the clay body.

9 10

Painting thin washes of acrylic to enhance the imagery Detail, “Koi Spirit.”
we have etched through the glaze.

through to get a feel for the slip/glaze relationship.

filling it with wood chips. Once the pot is removed from the
After the glaze has dried for a few minutes, you can then etch kiln, it is cooled in the air outside the kiln for about 45 seconds.
drawings through the slip/glaze layer. We use a wooden tool As soon as we hear the glaze crackling, it is time to place it in
with a sharpened point. This is done gently so as not to scratch the smoking chamber and cover it with more wood chips. The
the surface of the pot. The smoke from the reduction chamber hot piece is then covered completely with a metal container that
will enter the clay thereby creating deep shadowy crackles on allows the carbon to be trapped by the clay body.
the surface. The etching becomes a smoke drawing.
Fifteen minutes later the piece is cool enough to handle and
We fire one piece at a time to about 1368°F (740°C). The is removed from the smoking chamber. A light spray of water is
best indication of when to pull the pot out of the raku kiln is applied and the glaze falls off easily. Gentle rubbing with steel
when the glaze matures to an “orange peel” look. There should wool and water further cleans the piece and reveals the dark
be plenty of very rough texture all over the pot. Raku kilns heat shadowy crackles and matte surface that is the signature look
up differently, clay bodies mature differently and the slip/glaze of naked raku.
combo has variations. Firing 6 to 10 pots, one after another,
will give you a good idea of how the kiln, glaze and ambi- At this point, we often apply thin washes of acrylic to enhance
ent temperature are working together. Glaze and fire, glaze and the imagery we have etched through the glaze. The thoughtful
fire, glaze and fire and keep a journal of it all. Remember, ev- integration of form and surface guides us in our work. We use
eryday, you are making history. clay as a canvas. Balance is created by uniting the illusion of
control, as evidenced by the etched imagery, with the mystery
We create a smoking chamber by digging in the ground and and random nature of the fire.

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