Some tips I have learned from firing Raku

1.CLAY:

   You don't need to use special Raku clay, any high fire
   stoneware clay works well, esp if it has some grog.
   If you like to burnish your clay for smoking or horse hair
   decoration try using a high talc clay with out grog.
   We have had great results with such a mix, very smooth white surface
   and great temperature shock resistance.

   For hand building you can't beat paper clay (see my tip on how I make
   it in big quantities).  It is easy to work with especially since it is
   not too fussy about drying fast or the joining of new sections.
   And if made from stoneware clay it has great resistance to thermal shock.

2. GLAZES

   You can increase you color pallet by using some of your low fire glazes
   on your Raku pieces.  I made some 6 inch test tiles and made stripes of
   commercial low fire glazes I had on hand, numbering each so I could identify
   them after firing.  These glazes fired in a gas kiln and then placed
   in a reduction chamber sometimes looked nothing like they did fired in an
   electric kiln.  You might find some nice new colors and textures to use on
   your pieces.  Keep your test tiles handy when glazing to guide you.

   While your at it make some test tiles of your high fired glazes too, I
   have found several supposed high fire (cone6) glazes that give good results
   at Raku temperatures and some interesting textures.  

   Doing experiments with your glazes gives you an oppourtunity to create a look
   that is distinctly yours.

3. LOADING

   When loading your kiln, rehearse in your mind how you will be pulling them out
   after you reach temperature.  Since the extraction of the pieces must be done
   fairly quickly plan ahead how you will grab each piece with the
   tongs and where it will be placed post firing.  
   
   I have found that most pieces benefit from being raised off the kiln shelf by
   a couple kiln posts laid on their side.  Esp tiles and other flat pieces.  This
   makes them easier to get the tong under for a secure hold.

4. PULLING

   I was getting unwanted marks in my glazes from the papers and other materials
    we were burning untill I started holding the red hot piece in the flames of
   the ignited materials for 30 seconds or so before placing it in the materials.
    This allows the flames to set and harden the glaze surface greatly reducing
   the chance of defacing marks.
   
5. REDUCTION CHAMBERS AND SMOKE

   Metal trash cans come in all sizes and are the standard reduction chamber used
   by raku artists, but there are many other ways to create a reduction chamber.
   If you have a bare sandy patch nearby, dig a shallow hole and line it with newspaper
   or sawdust, use a metal lid or wash tub to cover after adding your piece and
   covering with more reduction material.  Press the edge of the lid into the sand
   or seal around the edges with more sand.

   This method is good for hard to handle shapes.

   For light reduction use a wash tub with a piece of plywood or cement board for a lid,
   smoke will escape from this container.  I use old towels dipped in water to wrap
   the tops of containers to hold back the irritating smoke.  Makes a huge difference.

6. The best way to learn about Raku is to experiment and fire often, you will learn from
   each firing and can apply it to the next.  Firing often will enable you to learn the
   personality of your kiln and how to control it to get the results you want.

 
   Get a good Raku firing book for the details of actually firing a kiln.
   There is much to be considered for a successful and safe firing,  I could't
   begin to touch on it here.  A good one to start with is Steven Branfman's
   "Raku".

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