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Some Really Beginner Questions


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I just outfitted my art studio with a used skutt kiln and kick wheel (may purchase a motor in the future), I took ceramics in college, I have a MFA in painting and art history...that was 8+ years ago. My ceramics courses were not technical, more conceptual and hands on... I didn't learn the cone temps, clay body properties, how to glaze things other than by dipping/ pouring....I focused on cranking out as much functional ware as I could and I made a few great sculptures too, but was too unsure about glazing to complete them.

 

So now that I'm on my own, my deficiencies and in the absence of practice, I need help.

 

First, I think I should read a basic but still interesting and somewhat specific book on ceramics that will explain parameters for firings, glazes and help build my understanding...suggestions?

 

Second, I need to know if I can fire a bisque load at a lower temp than a glaze fire...I have cone 5 clays and I'd like to fire to a lower cone (05) in an effort to minimize electricity use. And on the topic, can I bisque fire on a faster setting without consequences? I hate babysitting for 12 hours.

 

Can I glaze fire on a quicker cycle too? Say seven hours or even 4 hours...I need to minimise costs of electricity seriously. Can I combine a bisque and glazed ware firing at the same cone?

 

I have a skutt kiln, it is therefore electric and programmable. Figuring out how to do a low temp hold has been very frustrating...

 

Are there any guidelines for safety when running my kiln other than proper ventilation, proximity to walls/flammible objects, monitoring and having an updated fire extinguisher on hand that I should be aware of? What can go wrong that's dangerous with a skutt kiln? I am always nervous when salivating high temps and 100% responsibility....

 

Sorry for the simpler questions, I amjust starting out on my own...didn't know what I didn't know. This industry has become more expensive lately too, ouch!.

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Most clays are bisque lower than the glaze fire to leave the clay porous so it will take on glaze easily. Cone 05 bisque sounds about right. I have never used a cone for bisque but my kiln has a programmer so I take it slowly up to 950degC. I feel that anything over 100deg/hour is too fast for a bisque until you get past 600degC. Not sure about Fahrenheit. 

 

With glaze firings you can take them up faster as all the water, chemical water and organics have left the clay during the bisque. My glaze firings end up about 8 hours and so do my bisque even with the 300degC difference in top temperatures.

 

If you add the bisque to a glaze you will end up with either a big mess or a matured clay that will be hard to glaze.

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First, I think I should read a basic but still interesting and somewhat specific book on ceramics that will explain parameters for firings, glazes and help build my understanding...suggestions?
 

-- Vince Pitelka's "Clay -- A studio handbook" is about as comprehensive as it gets.  Vince teaches college ceramics; the book is likely his text for his classes.  Covers A to Z and then some.  What is not in his book is likely on his website.  http://iweb.tntech.edu/wpitelka/

Second, I need to know if I can fire a bisque load at a lower temp than a glaze fire...I have cone 5 clays and I'd like to fire to a lower cone (05) in an effort to minimize electricity use. And on the topic, can I bisque fire on a faster setting without consequences? I hate babysitting for 12 hours.

 

-- Most folks bisque at Cone 05, 04.  Either should burn our any organics in the clay, etc. and provide a sturdy bisque piece for handling during glazing.  I have an L&L kiln and use the slow bisque program with a 10 or 15 minute hold at top temperature.  Others use faster programs; it depends on your clay and preferences.  Electrical use difference is likely minimal.  I am around for the start of my firings and the end -- to make sure it reaches temperature and shuts off.  Otherwise, I just let it fire.  Your comfort level will grow with firing experience. 

Can I glaze fire on a quicker cycle too? Say seven hours or even 4 hours...I need to minimise costs of electricity seriously. Can I combine a bisque and glazed ware firing at the same cone?
 

-- My preference is a slow glaze, with 10 minute hold at top temperature; I've found I like the results from a slow glaze better than a fast glaze -- again, your clay and glaze will be factors here.  Others fast glaze.  No one right way; just a matter of preference.  Your electrical use will be determined by length of firing and how long the kiln/elements are drawing power during that time.  A shorter firing, your elements are on longer (you can tell from the relays clicking). 

I have a skutt kiln, it is therefore electric and programmable. Figuring out how to do a low temp hold has been very frustrating... 

 

-- Check the Skutt website for manuals and videos; also, check with a local pottery studio and see if someone there might be willing to come over and give you a lesson on loading, firing.

Are there any guidelines for safety when running my kiln other than proper ventilation, proximity to walls/flammible objects, monitoring and having an updated fire extinguisher on hand that I should be aware of? What can go wrong that's dangerous with a skutt kiln? I am always nervous when salivating high temps and 100% responsibility....

 

-- Proper circuit size.  Proper wiring between circuit box and kiln plug-in.  Electric kiln fires are more likely to occur in the wiring -- most likely from your circuit box to the kiln plug-in.  Vince's book covers the topic well.  I used a licensed electrician for my wiring . . . and I don't regret the cost; it is a great relief and one less worry.  And, knowledge of what is in your clay bodies and glazes . . . which materials are more likely to fume/vaporize, etc. 

 

 

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what part of the world is your home?  Fahrenheit or Celsius?  do you live near a public library?  you can always call Skutt with specific questions, ask for a technical person.

 

bruce has given you the name of a great book.  your library has more and you can always get some through inter-library loan service, usually free.  we recently had a thread on what books we own, check it out.

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Is there a community center you could take a class in firing? I know i teach at a community center and altho i don't have a specific class on firing as my student start buying there own equipment i am perfectly willing answer any firing question. I recently had a student pay me to come and look at a used kiln he was going to buy to make sure it was up to snuff. Then in class after my official demos and every one is making stuff he'll ask a question about his kiln, glaze experiments, firing technical and what he want to try. He is now comfortable enough with firing that he fires more often than i do. I've told him my hourly rate to come out and help if he gets in a bind.

 

I noticed you said your kiln is in your studio...is it vented to the outside? Kiln fumes are not healthy for you. Kiln wash your shelves before glazing firing. Bisqueware can touch, glazeware can't. Make sure the glaze and clay you buy or make matches the cone you will fire to. Preheating your ware is a good thing. And rushing a kiln is never a good idea cause exploding pots are a bad thing.

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The Craft and Art of Clay by Susan Peterson is very good, and has some great information about firing kilns.  Since you have a programable kiln you should think about writing your own program.  Look at the Skutt manual about the slow and fast bisque and glaze firings, you may decide that the faster firings will work very well, especially after reading about firing kilns.  You might even want to try single firing which eliminates the bisque firing.

David

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First, I think I should read a basic but still interesting and somewhat specific book on ceramics that will explain parameters for firings, glazes and help build my understanding...suggestions?

 

-- Vince Pitelka's "Clay -- A studio handbook" is about as comprehensive as it gets.  Vince teaches college ceramics; the book is likely his text for his classes.  Covers A to Z and then some.  What is not in his book is likely on his website.  http://iweb.tntech.edu/wpitelka/

 

Second, I need to know if I can fire a bisque load at a lower temp than a glaze fire...I have cone 5 clays and I'd like to fire to a lower cone (05) in an effort to minimize electricity use. And on the topic, can I bisque fire on a faster setting without consequences? I hate babysitting for 12 hours.

 

-- Most folks bisque at Cone 05, 04.  Either should burn our any organics in the clay, etc. and provide a sturdy bisque piece for handling during glazing.  I have an L&L kiln and use the slow bisque program with a 10 or 15 minute hold at top temperature.  Others use faster programs; it depends on your clay and preferences.  Electrical use difference is likely minimal.  I am around for the start of my firings and the end -- to make sure it reaches temperature and shuts off.  Otherwise, I just let it fire.  Your comfort level will grow with firing experience. 

Can I glaze fire on a quicker cycle too? Say seven hours or even 4 hours...I need to minimise costs of electricity seriously. Can I combine a bisque and glazed ware firing at the same cone?

 

-- My preference is a slow glaze, with 10 minute hold at top temperature; I've found I like the results from a slow glaze better than a fast glaze -- again, your clay and glaze will be factors here.  Others fast glaze.  No one right way; just a matter of preference.  Your electrical use will be determined by length of firing and how long the kiln/elements are drawing power during that time.  A shorter firing, your elements are on longer (you can tell from the relays clicking). 

 

I have a skutt kiln, it is therefore electric and programmable. Figuring out how to do a low temp hold has been very frustrating... 

 

-- Check the Skutt website for manuals and videos; also, check with a local pottery studio and see if someone there might be willing to come over and give you a lesson on loading, firing.

Are there any guidelines for safety when running my kiln other than proper ventilation, proximity to walls/flammible objects, monitoring and having an updated fire extinguisher on hand that I should be aware of? What can go wrong that's dangerous with a skutt kiln? I am always nervous when salivating high temps and 100% responsibility....

 

-- Proper circuit size.  Proper wiring between circuit box and kiln plug-in.  Electric kiln fires are more likely to occur in the wiring -- most likely from your circuit box to the kiln plug-in.  Vince's book covers the topic well.  I used a licensed electrician for my wiring . . . and I don't regret the cost; it is a great relief and one less worry.  And, knowledge of what is in your clay bodies and glazes . . . which materials are more likely to fume/vaporize, etc.

 

I will get that book today on Amazon, thanks, the skutt manual is a pain, so I'll check the website. I absolutely insisted on a professional electrician wiring up the kiln...it's a 240 so it's got a double pull 50 breaker....sorry, I can never remember watts, amps, volts for the numbers...need to read a book on that too. My kiln wiring was recently checked by a kiln technician too. I seriously was not firing the kiln without covering my bases. It scares me. I've loaded gas kilns a few times and the electric kiln back at school maybe twice...but it makes me very nervous too... the thought of a shelf breaking my wares is sickening. Honestly, I'm not normally so uncomfortable with so many aspects of a process...it's a big step having my own ceramics studio, I feel like a real grown up at 29...it took running a kiln to do that.

 

I am so grateful for the bisque suggestions and firing speed, guess I'll do both slow until I understand my glazes better. I am working hard to fill up my kiln, which will be hard since its huge and I need more kiln furniture.

Thank you for the replies, I feel a lot better about the process hearing your experiences and suggestions.

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Is there a community center you could take a class in firing? I know i teach at a community center and altho i don't have a specific class on firing as my student start buying there own equipment i am perfectly willing answer any firing question. I recently had a student pay me to come and look at a used kiln he was going to buy to make sure it was up to snuff. Then in class after my official demos and every one is making stuff he'll ask a question about his kiln, glaze experiments, firing technical and what he want to try. He is now comfortable enough with firing that he fires more often than i do. I've told him my hourly rate to come out and help if he gets in a bind.

I noticed you said your kiln is in your studio...is it vented to the outside? Kiln fumes are not healthy for you. Kiln wash your shelves before glazing firing. Bisqueware can touch, glazeware can't. Make sure the glaze and clay you buy or make matches the cone you will fire to. Preheating your ware is a good thing. And rushing a kiln is never a good idea cause exploding pots are a bad thing.

My studio is a tuff shed barn with gable vents and spinning vents, I have outfitted a whole house fan above the kiln about four feet up to draw up the heat, I leave three big Windows open as well as a four by six foot door. I don't hang out inside when the kiln is firing either. I just check hourly and record temp/time. I have loaded kilns before and know about nesting bisque and coating shelves with wash...but the process of building up a kiln with greenware and shelves is daunting every time. I think i should start using dumbbells and doing a kiln building workout. I also wish I had a easy lift lid, that thing is heavy, huge and a pain to deal with!

 

What should I use to prop open the lid 2 inches like skutt manuals explain to do until 1000degrees....I've been using a chipped shelf stand that's about that height. But it's not contoured very well...

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you are doing well, protecting your studio and yourself from the obvious problems.  good work.

 

now to conquer the unreasonable fear.  it is unreasonable to think that a shelf will break and ruin all your work.  what is the statistical basis for your fear?  i think you have picked the most unlikely scenario of all.  think out all the possible ways that could happen and have a good laugh about the human condition.  we do worry about the most ridiculous things!

 

my worry was that the broken tree branch hanging 50 feet above my studio door would fall on me as i stepped out of the door one day.  i worried about it all last winter.  it came down during the summer when i was not here.  yes, it did dent the roof above the door but i was not harmed.   now i just worry that i will be stepping out of an elevator (somewhere!) and it will fall that second and cut me in half. :blink:  :rolleyes:

 

a broken brick or a shelf post will prop your kiln lid.  why 2 inches, seems very excessive?  mine is half an inch.

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This was quite helpful, thanks, I was just designing a glaze test tile when i read your post... amaco glazes seem too thick so I think ill do a whole group of single coat and two coat (as recommended) tiles with overlapping. I am making l shapes, I like them best and find for glazes that tend to be thick, it's the best way to gauge outcomes. Amaco glazes are soooo expensive! Only reserved for small flashy pieces in my mind. I have less expensive glazes that require mixing and dipping... I am scared i won't apply the brush on glazes evenly.

 

I'm up to fifty items finally, all the finish work and humidity is making the process longer...I totally agree about the lazy Susan things, I'm getting one on my next trip to my supplier before i glaze!!!!!. Along with underglaze pencils and more glazes. My studio is filling up so fast!

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