325 mesh | 3D Design | 3D Printer | 3D Slicer | 3D-Printed Clay | 3D-Printing | Abrasion Ceramics | Acidic Oxides | Agglomeration | Alkali | Alkaline Earths | Amorphous | Apparent porosity | Ball milling | Bamboo Glaze | Base Glaze | Base-Coat Dipping Glaze | Basic Oxides | Batch Recipe | Bisque | Bit Image | Black Coring | Bleeding colors | Blisters | Bloating | Blunging | Bone China | Borate | Boron Blue | Boron Frit | Borosilicate | Breaking Glaze | Brushing Glaze | Buff stoneware | Calcination | Calculated Thermal Expansion | Candling | Carbon Burnout | Carbon trap glazes | CAS Numbers | Casting-Jiggering | Celadon Glaze | Ceramic | Ceramic Binder | Ceramic Decals | Ceramic Glaze | Ceramic Ink | Ceramic Material | Ceramic Oxide | Ceramic Slip | Ceramic Stain | Ceramic Tile | Ceramics | Characterization | Chemical Analysis | Chromaticity | Clay | Clay body | Clay Body Porosity | Clay Stiffness | Co-efficient of Thermal Expansion | Code Numbering | Coil pottery | Colloid | Colorant | Cone 1 | Cone plaque | Cones | Copper Red | Cordierite Ceramics | Crackle glaze | Crawling | Crazing | Cristobalite | Cristobalite Inversion | Crucible | Crystalline glazes | Crystallization | Cuerda Seca | Cutlery Marking | De-Airing Pugmill | Decomposition | Deflocculation | Deoxylidration | Digitalfire Foresight | Digitalfire Insight | Digitalfire Reference Library | Dimpled glaze | Dip Glazing | Dipping Glaze | Dishwasher Safe | Dolomite Matte | Drop-and-Soak Firing | Drying Crack | Drying Performance | Drying Shrinkage | Dunting | Dust Pressing | Earthenware | Efflorescence | Encapsulated Stains | Engobe | Eutectic | Fast Fire Glazes | Fat Glaze | Feldspar Glazes | Firebrick | Fireclay | Fired Strength | Firing Schedule | Firing Shrinkage | Flameware | Flashing | Flocculation | Fluid Melt Glazes | Flux | Food Safe | Foot Ring | Forming Method | Formula Ratios | Formula Weight | Frit | Fritware | Functional | GHS Safety Data Sheets | Glass vs. Crystalline | Glass-Ceramic Glazes | Glaze Bubbles | Glaze Chemistry | Glaze Compression | Glaze Durability | Glaze fit | Glaze Gelling | Glaze Layering | Glaze Mixing | Glaze Recipes | Glaze Shrinkage | Glaze thickness | Globally Harmonized Data Sheets | Glossy Glaze | Green Strength | Grog | Gunmetal glaze | Handles | High Temperature Glaze | Hot Pressing | Incised decoration | Ink Jet Printing | Inside-only Glazing | Insight-Live | Interface | Iron Red Glaze | Jasper Ware | Jiggering | Kaki | Kiln Controller | | Kiln fumes | Kiln venting system | Kiln Wash | Kovar Metal | Laminations | Leaching | Lead in Ceramic Glazes | Leather hard | Lime Popping | Limit Formula | Limit Recipe | Liner Glaze | LOI | Low Temperature Glaze Recipes | Lustre Colors | Majolica | Marbling | Material Substitution | Matte Glaze | Maturity | Maximum Density | MDT | Mechanism | Medalta Potteries, Medalta Stoneware | Medium Temperature Glaze | Melt Fluidity | Melting Temperature | Metallic Glazes | Micro Organisms | Microwave Safe | Mineralogy | Mocha glazes | Mohs Hardness | Mole% | Monocottura | Mosaic Tile | Mottled | Mullite Crystals | Native Clay | Non Oxide Ceramics | Oil-spot glaze | Once fire glazing | Opacifier | Opacity | Ovenware | Overglaze | Oxidation Firing | Oxide Formula | Oxide Interaction | Oxide System | Particle orientation | Particle Size Distribution | PCE | Permeability | Phase change | Phase Diagram | Phase Separation | Physical Testing | Pinholing | Plainsman Clays | Plaster Bat | Plaster table | Plasticine | Plasticity | Plucking | Porcelain | Porcelaineous Stoneware | Pour Glazing | Precipitation | Primary Clay | Primitive Firing | Production Setup | Propane | Propeller Mixer | Pyroceramics | Pyroceramics | Quartz Inversion | Raku | Reactive Glazes | Reduction Firing | Reduction Speckle | Refiring Ceramics | Refractory | Refractory Ceramic Coatings | Representative Sample | Respirable Crystalline Silica | Rheology | Rutile Glaze | Salt firing | Sanitary ware | Sculpture | Secondary Clay | Shino Glazes | Shivering | Sieve | Silica:Alumina Ratio (SiO2:Al2O3) | Silk screen printing | Sintering | Slaking | Slip Casting | Slip Trailing | Soaking | Soluble colors | Soluble Salts | Specific gravity | Splitting | Spray Glazing | Stain Medium | Stoneware | Stull Chart | Sulfate Scum | Sulfates | Surface Area | Surface Tension | Suspension | Tapper Clay | Tenmoku | Terra cotta | Terra Sigilatta | Test Kiln | Theoretical Material | Thermal Conductivity | Thermal shock | Thermocouple | Thixotropy | Tony Hansen | Toxicity | Tranlucency | Translucency | Transparent Glazes | Triaxial Glaze Blending | Ultimate Particles | Underglaze | Unity Formula | Upwork | Viscosity | Vitreous | Vitrification | Volatiles | Warping | Water in Ceramics | Water Smoking | Water Solubility | Wedging | Whiteware | Wood Ash Glaze | Wood Firing | Zero3 | Zeta Potential

Kiln Firing

All types of ceramic are fired in a kiln to cement particles together to produce a hard and water and temperature resistant product.

Details

At it most basic level, firing is process of heating a clay (or recipe of clays and minerals) to a temperature sufficient to fuse the particles together. However today, each type of ceramic has not only its own firing temperature, but also schedule (control of the rate of rise and fall of the kiln). In addition, the atmospheric pressure and atmosphere itself within the kiln are controlled for many types of firing, either by restricting the amount of oxygen in the chamber or replacing it entirely by another gas (like nitrogen). In addition, kilns subject the load to drafts to help even out temperature and atmosphere and carry away water vapor and products of combustion and decomposition (of bodies and glazes). Firing also varies in the types of fuel that are used (e.g. coal, gas, wood, sawdust, oil, electric) and the type of kiln (kilns vary widely in the way they deliver heat to the ware and channel it out).

Related Information

Two electric kiln controllers firing test kilns. Why are they so different?

Red controller on the right: A Skutt Kilnmaster. Blue controller to the left of it: An Orton Autofire. These controllers both attach to a thermocouple in the kiln so they know the temperature. Both are external to the kilns (but there is a big difference). The controllers monitor the temperature change as they turn the power on in bursts, changing the length and frequency of the bursts to control temperature rise. The KilnMaster controller is attached to the 220V power line and the kiln power line attaches to it (there are heavy duty electrical relays inside). The blue Autofire controller connects to the switching mechanism in the other kiln (built to receive it), thus no heavy duty relays are needed within it. The KilnMaster is more flexible since it can connect to any kiln, but it is also triple the price.

A test kiln with firing controller: A necessity.

Every potter should have one of these. This one has a Bartlett Genesis electronic controller, you will never go back after having one. Start with a kiln like this and then graduate to having a large, second kiln. We have done 375 firings on this one in the past couple of years, it is still like new. Ongoing testing is the key to constant development of your productS and their quality.

Temporary Raku Kiln

Used for firing raku test specimens.

A gas kiln built by Luke Lindoe in the 1960s is still used at Plainsman Clays today

It fires very evenly from top to bottom and front to back. We have used it for quality control to fire thousands of porosity and shrinkage test bars to monitor the maturity of the clay bodies. Oh, we also fire pottery in this!

Soda and salt kilns at the Medalta International Artists in Residence

In Medicine Hat, Alberta, Canada. Designed by Aaron Nelson.

Electric hobby kiln

Firing an impossible-to-fire piece was possible!

These porcelain pieces were cracking, even during very slow firings at cone 03. The radiant heat from the elements heated the outside edge first, creating a temperature gradient. That produced a firing shrinkage gradient that the piece could not absorb. Even with very slow firings and various other strategies, the potter could not solve the problem. So is it really true that anything can be fired if you can do it slow and even enough? Yes, even this. Three factors made it possible: 1) The low firing temperature. 2) Even slower firing speed (24 hours instead of 12 hours to ramp). 3) Elimination of the direct radiant heat. This clever potter fires using only the elements in the bottom one/third of the kiln (the top 2/3 elements never go on) and puts the rings only in the top 2/3 of the kiln. Again, that was possible because it is only a cone 03 firing.

A modern electric test kiln, a marvel of utility

A ConeArt 119 electric test kiln

This is a ConeArt 119D, 0.57 cu ft, 11"x9" cone 10 test kiln. The 120v model only needs 18 amps. We have the 220v model and have fired ours hundreds of times, mostly in the cone 4-7 range. The old BX controller is shown here, it is $300 cheaper, but don’t even think about getting that! Do not use your electric like a pop up toaster, make it a technological enabler of custom firing schedules, get the Genesis GX. Having good control of firing is a key to success and this is superior for that. These kilns are economical to fire. Big enough for 5 mugs, but I typically fire a dozen clay and glaze test specimens. We make our own super-thin shelves. The controller holds about 20 schedules, even controllable remotely (it is Wi-Fi connected). We can fire cone 03 up and down in three hours!

Links

Glossary Primitive Firing
The use of some traditional firing techniques is still popular among modern potters and sculptors (who are accustomed electric and gas kilns, often with computer controllers).
Glossary Candling
Refers to the practice of slow-heating a kiln during early stages to give mechanically-bound water a chance to escape.
Glossary Water Smoking
In ceramics, this is the period in the kiln firing where the final mechanical water is being removed. The temperature at which this can be done is higher than you might think.
Glossary Firing Schedule
Designing a good kiln firing schedule for your ware is a very important, and often overlooked factor for obtained successful firings.
Glossary Wood Firing
Glossary Reduction Firing
A method of firing stoneware where the kiln air intakes and burners are set to restrict or eliminate oxygen in the kiln such that metallic oxides convert to their reduced metallic state.
Glossary Salt firing
Salt firing is a process where unglazed ware is fired to high temperatures and salt is introduced to produce a vapor that glazes the ware.
URLs https://paragonweb.com/wp-content/uploads/21stCenturyKilnsemailsize.pdf
21st Century Kilns book by Mel Jacobson
Media Manually program your kiln or suffer glaze defects!

By Tony Hansen


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