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At my studio, I form my work, either wheel thrown, hand or slab built. Then they are fired to 1830 degrees in an electric kiln, called "bisque-firing." When cooled, glazes are applied to the interior of the pots. The outer surface is either unglazed or has a thin coating of a "slip," or watery clay. Flashing slip is a particular type of slip that reacts with the atmosphere in the kiln and creates the deep orange surfaces, also allows the clay surface to more effectively catch the footprint of the soda/salt vapor traveling through the kiln. Brush works, with Japanese calligraphy brush, may be added to the work after the slip is dry.
I spray 3 lbs of soda ash and 1lbs of baking soda mixed with hot water 12 times each in four different soda ports, for over 90 minutes, when the temperature of the kiln is around 2200 degrees. I also place about 30 salt cups (3/4 lbs of table salt all together) here and there on shelves in “dry” spots of the kiln, where the soda vapor doesn't reach. I also use the same salt cup method to decorate certain parts of my pottery by placing salt right next to a piece. The firing continues till the temperature reaches about 2400 degrees, but the decision to shut off the kiln is guided by the movement of the ceramic cones that indicate the cumulative effect of temperature, visible inside the kiln through ports.
The result is a combination of a salt glazing with some orange peeling texture, more even yellow/orange color in small parts of the kiln, and more dramatic and directional soda surfaces in the majority of the kiln. My soda kiln is fueled by propane gas, but I add wood right after spraying soda for a prolonged heavier reduction atmosphere in the kiln to achieve deeper orange, grey and dramatic vapor pattern from the flashing slip on the surface of each pottery.
Since the beginning of 2007, I transported my work, following bisque-firing, for salt and soda firing to the Mendocino Art Center. In 2008, I built a soda kiln in my yard with the help of Doug Browe (the head of the ceramics department at Mendocino Community College) and other potters in our community, who were participating in a kiln-building class at Mendocino College. My sincere gratitude to my firing friends and supportive patrons.