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Test Kiln

A test kiln is a must for all potters and small manufacturers, even serious hobbyists. Here is why.

Details

A test kiln is a small kiln having the ability to fire to the temperature and firing schedule of your production kiln. It uses on a fraction of the energy. A shelf in a test kiln, the heating of which takes most of the heat-up energy, might weigh 1kg (or as little at 500g if you make them yourself). Even a half-shelf in a studio production kiln can weigh 8-10kg. Test kilns can fire in a fraction of the time and the controllers on modern devices are amazing.

A test kiln is a must for all potters and small manufacturers, even serious hobbyists. When people are first caught up by the magic of ceramics, they are just happy to make a vase or bowl that does not fall down on the potters wheel or crack on drying. But the charm wears off quickly when large kiln loads of ware are lost due to inexperience, mistakes or unfulfilled expectations with a body or glaze. Later, when customers return ware that is crazing or leaking or leaching or cutlery marking, you will to continue can really be tested!

You may be taken aback by the price, but weigh that against what such a device can deliver. A test kiln, more than anything, determines where your ceramic knowledge and ability will be in a year. Five years. People who only have a production kiln do few tests. Why? Because most tests are failures, in larger kilns that costs money and time! Ability to test things is the principal enabler to your improvement as a potter. Having a test kiln is not an "extra cost", it is the "first investment" in making you independent and unique, it is the key factor in greatly increasing the success-rate in the production kiln you may later use.

People with test kilns commit themselves to think more about the technical aspects of ceramics. They learn why things happen. They are likely to be interested in how functional and durable their ware is. They are not taken in by the trafficking in recipes. Those pictures with the recipes might look flashy but they seldom work because the author does not include critical detail on making them work and the author likely does not have a test kiln! People with test kilns are more likely to know about what bodies and glazes do at higher and lower temperatures that the one at which they fire. They know about things like vitrification, density, firing shrinkage, thermal expansion, glaze fit. All by actual experience in firing tests. They are more prone to think outside the box, to dream and test the dreams. They see more clearly the infinite universe of techniques and materials that is ceramics. A test kiln makes you independent, able to utilize local materials or mix-your-own own instead of buying premixed. The ability to test will enable you to work at lower temperatures, where more testing is required to find success. It will enable you to develop the ceramic traditions of the area in which you live. Or to experiment with crystalline glazes, translucent porcelain, frit ware, engobes, decals, bone china, agate ware, porcelain jewelry, fast-fire, and more.

Having a test kiln will enable you to accomplish something few other potters do: Work at multiple temperatures. You will look back at working at one temperature as restrictive, primitive. Or energy wasting if you fired middle or high temperature. Even the ability to fire certain glazes or bodies one cone higher or lower can greatly improve ware quality.

If you make small pieces a test kiln can be a production kiln. You can even develop a fast-fire process that enables firing it multiple times a day. Coupled with a plaster table and a good propeller mixer, you could be independent and develop and produce a totally unique type of product. If you make high-value pieces a test kiln could be a far more practical production device. Our ConeArt 119 can hold 5 mugs so even some functional ware can be done. Considering that many test kilns run on 110 volts, the true practicality for a small scale manufacturer at home can be seen. Imagine what could be done in 3D printing custom-shape refractory setters, this could really maximize the use of the space for a production purpose.å

Related Information

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.

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 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!

Imagine if you had everything for production at home during Covid-19

All the things a potter needs: materials, equipment, supplies, tools

This is what you need to be independent, to create your own manufacturing company in your garage. Some of the prices are "instead of" rather than additive. There are many approaches to glazes, the more you are willing to learn the better you will be able to make your own (and save a lot). We recommend the cone 6 range using a small test kiln (like this 220v ConeArt GX119, don't scrimp on this, go for quality and the practicality of a Genesis controller). A kiln you can fire often and inexpensively is a key enabler to learning, developing techniques, products, designs, durable and decorative surfaces, solving problems. It can be fired multiple times a day. And it is big enough for mugs and similar sizes. It will get you into the habit of using some of your creativity for experimenting. It will give you the successes early on that will inspire you to press on learning. When you are ready, then get a big kiln and hit-the-ground-running. This potter's wheel is the best available and will last a lifetime, these often appreciate in value over time. And, build yourself a good plaster table. You will use it constantly. Not shown here is a propeller mixer, also an important tool. And you will need a sink equipped with a sink trap (Gleco Trap).

By Tony Hansen


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