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PDWhite

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  1. This is nothing new from Skutt or most of the other small, portable kiln manufacturers. I am sorry that I don't currently have time to address the fallacies (and the unsaid facts) in this statement right now, but I'm about to get to the part that explains the confusion involved with statements like these in the next installment on why reduction firing in an electric kiln is possible and practical. However, this is not true for just any electric kiln. More on this topic when I have a bit more time to compose it.
  2. Actually I've heard it referred to loosely both ways. What I termed as slowing the firing by closing the damper a bit, and forcing the atmosphere to become a reducing one is often referred to as a soak. On the other hand, it takes a very tight kiln to maintain a reduction atmosphere once the burners are shut off. Generally, fire brick kilns aren't tight enough to the atmosphere keep them from re-oxidizing fairly soon after the firing is over. Most usually, it is the re-oxidation that occurs after firing which brings up the warm colors from the reduced glaze and clay bodies. The Sto
  3. My original experience with reduction firing was through the use of gas kilns. The one in my studio was a walk-in catenary kiln. (I loved it.) Since the gas being introduced into the kiln was for the purpose of heating it, cutting back on air going into the kiln, usually by closing the chimney damper slightly resulted in incomplete burning and brought about the reducing atmosphere. However, less burning of gas also meant less heat and so the kiln would not climb as fast, this is what's commonly understood as reduction cooling. The slowdown also allowed the now-fluxing glazes to melt, and
  4. A reduction atmosphere can be attained by introducing any carbonaceous material a hot kiln. Many potters have used propane, which is clean and if done correctly, will work very well. However, there is one caveat: In some instances, where the gas is introduced prematurely, it can result in a gas explosion. Gas explosions can be very powerful and dangerous, and if one doesn't actually blow up the kiln, can at least damage the pottery and glazes being fired. When building the Stoker, we used charcoal, or the purest lignite we could obtain. The heat of the kiln would gasify the carbon from
  5. My objective is to not write a book. What I'm attempting to explain is actually fairly simple, but the technical requirements need to be understood, first.
  6. Yes. There are a number of ways to create a reduction atmosphere. Some are messy. Some are dangerous. Some are both. There are also a few that are fairly safe and clean. I will get into this later on.
  7. I'll be glad to. However, it's not just the size and shape of the kiln that's the real issue. The answer is technical and provides the right answer. The box is rather irrelevant.
  8. Hello! Sorry for the delay in replying to the questions you all have posted in this thread. Sometimes when things get a bit 'crazy' around here all of my correspondence goes sideways until there's time for it. The explanation of how and why good, reliable reduction firing is possible in an electric kiln without damaging the heating elements is really very simple. Getting an understanding of what makes it so is a bit more complex and to confuse things even more there are a lot of misconceptions. To make this more easily understandable, I intend to provide an explanation of
  9. Thanks for asking. - The thread has been moved to: Go here and open Electric Reduction Firing... I'm composing an answer and will be posting it shortly...
  10. Thank you, Min. There will be some things that should be worth the discussion.
  11. Hello! My name is Philip White. I was the manufacturer of the Stoker Electric Reduction Kiln. The company, a.k.a. The Reduction Production Refractory Factory was building Stoker Kilns in Amesbury,Massachusetts, USA. It had to close in the early 1980's when the US Small Business Administration reconsidered RPRF from being a 'small' business to a 'miniscule' one and not important enough to continue subsidizing. Consequently, the whole thing went down the tubes. Needless to say, I was so disillusioned with this state of affairs that I didn't want to have anything to do with kilns or pottery
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