Duncan Studio Basics: Kilns
Duncan Studio Basics: Kilns
Duncan Studio Basics: Kilns
Day 1
___________________________________________
KILNS
Kilns are heating units especially designed for firing ceramics. The name kiln comes
from the Latin word for kitchen, referring to ovens. Basically, ovens and kilns work in the
same manner. Cakes, cookies and meringues are baked at different temperatures.
Greenware, glazes and overglazes are also fired at different temperatures; the main
difference is that a ceramic kiln fires much hotter and longer than a household oven.
The term firing comes from the fact that kilns were originally heated with fire.
In fact many places in the world still use wood-burning kilns. Today, most ceramists use
electric kilns to obtain truly consistent results, just as we use electric ranges instead of
wood-burning stoves.
Electric Kilns – For hobby ceramics, all of the kilns should be electric and use a firing
condition known as an oxygen-rich environment. Duncan products need to be fired with
oxygen to make them perform correctly. This is known as oxidation firing. Electric kilns
work by resistance. Electricity travels through the elements and the elements are
designed to resist the passage of the electricity. The resistance makes heat. The more
electricity, the smaller wire, the more resistance; therefore, the more heat.
Electric kilns are designed to conform to certain electrical needs. Kilns are designed with
specific voltage and amperage requirements. Volts are the power source. Most kilns in
the U.S. take a 240-volt power source. However, many public electrical systems use
208-voltage. Small kilns are also available with a 110-volt system.
International voltage varies from country to country. Amps are determined by the size of
the kiln’s inner wiring. Smaller kilns usually need a 30-amp breaker and outlet, whereas
larger kilns will need a 50 to 60 amp breaker and outlets.
Wiring from the breaker box to the kiln outlet must be of a specific size. Wire size is
determined by the voltage and amp draw required for a specific model.
Seek assistance from a qualified electrician and kiln distributor to help determine specific
kiln needs. The kiln must be installed properly and should meet all electrical needs.
Always refer to the manufacturer's manual for the necessary amps and voltage
requirements.
Kilns are designed with vent holes and/or peep holes to facilitate removal of gases and
to allow adequate air circulation. These openings are important to release gases and
secondary water from firing chamber. Vent holes are present in the top of the kiln and on
1
Venting Systems are designed to remove gases and secondary water from the kiln
chamber and from the studio or kiln room environment. These systems should be used
to further ensure great firing results. Several systems are available, check with your local
distributor for assistance in choosing the best system for your needs.
Kiln sitter: A mechanical device that, in conjunction with a small junior cone, will shut kiln
off when a desired temperature is reached. When the cone in kiln sitter bends the kiln
shuts off. Shelf cones should be used every firing.
Kiln sitter with auto-timer: Same as above but with the addition of a timer to shut the kiln
off if the kiln-sitter/automatic shut off device fails or the cone does not bend properly.
Shelf cones should be used with every firing.
First generation automatic kilns: Kilns that are programmed to rise to a certain rate of
temperature before all elements in the kiln are automatically turned too high. Used in
conjunction with a kiln-sitter/automatic shut-off device with or without an auto timer and
shelf cones.
Electronic kilns: Kilns with computer chips that work directly with a thermal couple that
can be programmed for a variety of firing conditions and should always be used with
shelf cones.
KILN SAFETY
Kilns are heat-generating appliances. Use common sense when working near your kiln
to avoid burns. Following are general safety tips to follow when working with kilns.
1. Set up your kiln in an area with proper ventilation. Be sure it is free from any
flammable debris.
2. Place the kiln stand on a surface that is level. The floor beneath the kiln should be of
material that will not present a fire hazard, such as cement, ceramic tile, brick or
stone.
5. Wait until the kiln has fully cooled before attempting to unload fired pieces.
KILN WASH
Kiln wash is a mixture of finely ground minerals that will not melt and fuse together
during firing. It is a protective coating applied to the top of kiln shelves and to the bottom
2
When the surfaces of your kiln floor or shelves protected by kiln wash become rough or
thin or if glaze has dripped onto the shelf, scrape wash off shelves with a putty knife and
apply a new coat. Kiln wash should be applied to shelves when first using the kiln and
should be reapplied as needed after every 8-10 firings.
Kiln wash is usually purchased in a powdered form and mixed with water until it reaches
the consistency of skim milk. A high fire kiln wash is recommended. Using a standard 2-
4” paint brush, apply 3-4 thin coats of the kiln wash mixture to the top of all shelves,
including the bottom of the kiln. The bottoms of shelves should always remain clean. Do
not apply kiln wash to the bottoms of the shelves. Clean brushes with soap and water.
Kiln wash should ALWAYS be used when firing earthenware.
PYROMETRIC CONES
Pyrometric cones are one of the best tools used in firing. These little cone and bar
shaped items are essential in creating quality ceramics.
WHAT CONES DO
• When used properly, cones bend in the firing chamber reacting to the time and
temperature in the kiln.
• The bend in a cone serves as an indicator showing the specific temperature reached
for a specific length of time.
TYPES OF CONES
1. Large cones known as witness or shelf cones are used on kiln shelves to determine
temperature achieved on the shelf. Due to heat rising, a cone is placed on every
shelf during every firing to measure the consistency of heat throughout the kiln.
2. Regular shelf cones need a clay base or metal base for support.
3. Self-supporting cones sit directly on kiln shelf and need no additional support.
COOLER HOTTER
020 019 018 017 06 05 04 02 0 5 6 10
• Cone 04 is hotter than 06. Cone 02 is cooler than cone 5. The decimal in front of the
cone system no longer appears in text, refer to cone .04 as 04.
If the kiln fired correctly, the cones would look like this:
After a few firings, the only shelf cone needed in the kiln would be the actual firing cone,
used on every shelf in every firing. The only way to determine if a kiln is firing correctly is
with the reading of bent cones.
If the cone looks like this the kiln has under-fired and items should be refired. You will
also want to determine the cause for the under-firing.
If the cone looks like this, the kiln has over fired. Determine the cause for over-firing.
Pieces cannot be refired to change their over-fired condition.
Every kiln regardless of its manufacturer will have some internal variation in
temperatures. Each kiln is different and has its own personality. Using cones will help
you understand how your kiln fires, and will serve as an indicator to kiln problems such
as a damaged element. For example, older kilns often have a longer firing time. Kiln
elements wear out and should be replaced every 700 to 800 firings. By replacing kiln
elements, more accurate firings will be achieved as well as a possible reduction in
electric bills.
Sensing rods and cone supports used in kiln sitter/automatic shut-off devices should
also be replaced periodically. These parts corrode over a period of time, just like
Cones can detect temperature variances in the kiln chamber and help avoid the costly
errors of wear fired inaccurately. Cones serve as a guide and will let you know when you
have had a successful firing. For specific kiln firing information with making adjustment
to firing time, kiln sitter, and computer systems, one needs to work directly with the kiln
manufacturer.
FIRING
The big event! All ceramic pieces need to be fired at least once, and may be fired many
times. If a ceramic piece is not fired correctly, no matter how well the item has been
completed, the result will be greatly affected by the firing process.
2. Place a 1” high false bottom, “hearth plate” in the kiln — this will generate better air
circulation in firing chamber. The slight rise in elevation will also create a hotter firing
temperature in the bottom of kiln.
3. Use clean shelves and posts, known as kiln furniture. We recommend high-fire kiln
furniture; it will last longer and is durable with slightly thicker shelves.
4. Have 03, 04 and 05 shelf cones ready to place on each kiln shelf. Place 04 bar cone
in kiln sitter before loading kiln.
5. Load only bone-dry ware into kiln. Damp ware may crack during firing and
sometimes explode, causing damage to other ware in kiln.
7
7. Undecorated pieces can touch during the bisque firing. For best results leave ½ to ¾
inch between individual items and kiln furniture.
8. Keep ware no closer than 1” from the kiln wall. Plan your load and arrange it before
actually placing it into the kiln. This helps use space efficiently.
9. Items with lids are to be fired with lids on them and ware is to be fired in its normal
resting position.
10. When adding another shelf, have ¾” to 1” space between the tallest piece and the
underside of the next shelf. Use three posts to support each shelf.
11. Lower shelves into the kiln carefully to avoid damage to the kiln walls or
thermocouple, placing shelves so there is a least one element showing between
each pair of shelves and one element between the uppermost shelf and the top of
the kiln.
12. When kiln is loaded, close lid, set kiln for earthenware cone 04 bisque fire according
to manufactures’ instruction and turn kiln on.
UNLOADING KILN
1. To avoid breakage when unloading a kiln take ample time to unload carefully.
2. Allow kiln to cool before unloading. Allow kiln to cool slowly avoiding thermal shock,
this is better for ware and elements inside kiln.
3. Make note of cones on each shelf in a firing journal. In the event ware is underfired it
may be necessary to fire ware again.
4. Remove pieces when they can be easily picked up with unprotected hands.
5. Remove shelves and ware carefully, avoiding contact with kiln walls, elements and
thermocouple.
6. Stack shelves and posts in an area free from dust and glaze while not in kiln.
CLEANING A KILN
1. To provide the best possible environment for firing earthenware, it is important to
8
4. Vacuum immediately if ware blows up in kiln, or kiln brick or kiln wash chips are
found inside chamber.
5. When placing hearth plate back in kiln, be sure it is locked in correctly before
loading.
2. Crazing:
Immature bisque, thermal shock, improperly formulated body, heavy glaze
application
Remedies:
Refiring piece one cone hotter from the original cone sometimes corrects
the problem
4. Pinholes:
Underfired bisque, dust on ware, applying glaze to greenware, firing too
rapidly, improperly adjusted slip, firing wet glazes
Remedies:
Refire to proper cone; apply a thin coat of glaze before refiring
5. Crawling:
Dust on ware, glaze puddling in recessed areas
Remedies:
Remove dust; reapply glaze and fire to proper cone
8. Distorted Bisque:
Overfiring or ware incorrectly removed from mold
10
Color
We all know someone who has a knack for putting colors together, colors you’d
never think of combining – a violet scarf and amethyst pin with a harvest gold suit
and it looks smashing. Some people have an inborn color sense, but if asked to
explain why they combined peach and turquoise in the guest room, they would
not be able to give you a logical explanation. The basic principles of color follow
true logic and can be easily learned.
Red – The most exciting color, known to escalate the body’s metabolism. A
lighter shade, pink, is associated with romance, while darker red has royal
implications.
Green – Is peaceful, fresh and clean, the color of a spring meadow. Bright green
can be uplifting, and dark green evokes a mental picture of a pine forest.
Blue – Is the most calming color. It is the second-most powerful color after red.
Light blue soothes, while dark blue adds dignity.
Violet – Is the color of aristocracy, but rare in nature and perceived as artificial.
Light purple is a fashion favorite; dark purple implies wealth.
White – Is a dichotomy with innocence on one side and sterility on the other. It is
the color of fine china and disposable paper plates.
Black – Can represent mystery or imply elegance, and its bold appearance has
made it popular among artists.
Brown – The color of the earth, evoking vagueness or melancholy. Light brown
confers genuineness. Dark brown is reminiscent of fine wood and leather.
Your most important tool in understanding color is the color wheel. There are
many available commercially, such as the Grumbacher Color Computer. It shows
the major color scheme and the 12 color families with their respective value
11
Primary: Three colors, red, blue and yellow, are equidistant apart on the wheel.
You cannot make these colors, rather it is from these three colors that all other
colors are made.
Secondary: Mixing any two primary colors makes them. They should not appear
to lean toward either of the parent colors, but should stand independent of them.
Value: (Is it light or is it dark?) Value refers to the lightness or darkness of a color
as compared to a scale of grays, with white being the lightest at #9 and black
being the darkest at #1. For the purpose of this study, we will not assign numbers
to the colors to describe their value. However, within each project, we will discuss
the relative value of each color in this respective hue.
The phrases used to depict value are demonstrated below on a scale to describe
the values of the three primaries and three secondary colors, hues you are
familiar with:
Light value: yellow
Middle value: orange, green, blue, red
Dark value: violet
Value is relative to its surroundings. A light color will appear lighter on a dark
background, and dark colors will appear darker on a light background.
What effect does value create within a painting? Value creates form. The effect
of light on objects causes varying degrees of light and dark, or value. This gives
a three-dimensional look on a one-dimensional surface. You are creating an
optical illusion. Lighter values make objects appear larger, therefore, closer to us,
12
If you create a shade of color, you are lowering the value. Adding black or any
other color, which is lower in value, does this. For example, true green (which is
middle value) can be lowered by adding black or true blue, red or violet.
To make it transparent, add Thin’n Shade®. Allow the color underneath to show
through. This will bring the value closer to the underlying hue.
Intensity: This term is probably the most difficult one to understand, as people
often confuse it with value. Intensity is independent of value. What is intensity? It
is used to describe the purity of color, is it bright or is it dull? Is it loud, demanding
your attention, or is it soft, subtle and soothing? Intense color is raw, strong and
vivid. The addition of any color to this pure color will lower its intensity. Intensity
is also called chroma.
Because a color at full intensity pulls the eye, it should be used only where you
wish the dominant part of your design to be. If you wish to emphasize a certain
area, use your intense colors. Too much intensity used in too many areas
creates confusion.
13
Temperature: All colors convey feelings of being warm or cool. Warm colors are
red, orange and yellow. Cool colors are green, blue or violet.
Warm colors tend to make objects larger, thus closer to us. Cool colors tend to
minimize objects, making them recede. It is important to note that (except for
pure color) most colors have both a cool side and a warm side. For example,
although Barnyard Red is technically a warm color, look at it closely. It has a
tinge of blue to it. This makes it a cool red as compared to Bright red, which has
a tinge of orange. This would be useful if doing a group of berries. Those berries
in the foreground have a base color of Bright Red, while those in the distance
have a base color of Barnyard Red.
Have you noticed that the complement of a cool color is always a warm one?
Just as temperature extremes in our environment cause unsettled weather,
complementary hues used in a color scheme are attention grabbing!
COLOR SCHEMES
There are several schemes to show you how to combine color for guaranteed
success.
Monochromatic: This plan involves only one color. The various values are
achieved by the addition of white and black.
Complementary: This scheme uses colors which are opposite on the color
wheel. You may also add neutrals such as white, black and gray and even
grayed green is considered neutral. Sometimes you have to add a small amount
of another hue to maintain realism. For example: a red poinsettia and green
leaves on a gray background may have yellow-orange centers.
Split Complementary: Choose a color that you wish to be the dominant one
e(.g. red). Now, locate its compliment – green. The colors that lie on either side
of the green, yellow-green and blue-green, are used with red in the split
complementary color scheme.
14
Analogous with Direct Complement: Find the color that lies on the middle of
your analogous colors (e.g., yellow-orange, yellow, yellow-green). Now take the
direct complement of yellow, which is violet, as an accent color.
Triadic: Choose three colors that lie equidistant on the color wheel, for example:
orange – green – violet. Colors are chromatically arranged for easy use in
paint/color applications.
DIPPING GLAZE
Dipping glaze is a fast and easy way to glaze bisque. Dipping glaze is
formulated to coat decorated bisque in a fast, economical manner. The pieces
are simply dipped (submerged into the glaze) drained, dried and fired.
1. Make sure bisque is fired to shelf cone 04. Underfired bisque will absorb too
much water from the glaze, producing a thicker coat than desired. Over-fired
bisque will resist water absorption, creating a coat that is too thin.
2. Dust with a duster brush and damp-sponge the ware to make sure bisque is
clean and free of dust.
3. Mix dipping glaze in its own container, then pour the mixed glaze into a
dipping tank (a clean plastic container works well).
4. Mix the glaze thoroughly with paddle, bowl brush or drill mixer. Note: Drill
mixers should rotate at a speed no greater than 1000 rpm. Hot, dry weather
can cause variables in dipping consistency. Add water as needed to thin and
stir well.
5. Test glaze for proper thickness with a Dupont M50 Viscosity Cup. See
Information on Controlling Dipping Glaze Viscosity on page 9.
6. Grip ware with clean hands or dipping tongs.
7. Rapidly and smoothly submerge ware, covering ½ to ¾ of it if large,
15
There are several methods that can be used to control the viscosity of dipping
glazes. We will concentrate on the addition of SY556 Dipping Glaze Thickener to
thicken the glaze and the addition of water to thin the glaze.
The first thing to determine is if the glaze is too thick or too thin. The best method
to determine this is by using a viscosity cup also called a Zahn cup. The viscosity
measurements that will be given are based on the DuPont M50 cup, which is
available through Duncan. Other viscosity cups may be of different volumes or
have different size discharge orifices. These cups will work but the readings will
not correlate with the readings listed in this document.
What is a viscosity cup? It is simply a container with an open top and a dished
bottom. The bottom has a small hole to allow the glaze to pass through. The cup
has a handle so that it can be dipped into the glaze. You will need a stopwatch or
a watch with a second hand to time how long it takes the glaze to flow through
the cup.
1) To use the cup, first mix the glaze well, then submerge the cup in the glaze
and allow it to fill (see fig. 1).
Fig. 1
17
Fig. 2
3) Stopwatch is stopped when the steady stream of glaze breaks at the bottom of
cup and only a few drops of glaze, if any, emerge from cup (see fig. 3).
18
Fig. 4
This range in seconds is not an absolute rule and you may find that a reading
outside this works better. If this is the case, just record that number and maintain
the viscosity reading for your glaze by that number. If you find that your results
are better with a thixotropic glaze, it is important to measure and maintain the
level of glaze left in the cup as well as the time the glaze flows from the cup.
19
Water should be added in graduated amounts, taking care not to add too
much at one time, resulting in a glaze that is too thin.
Product Glossary
Concepts® (CN)
Concepts® were developed especially for cone 04 bisque and has become one of the
most utilized products in the Duncan fired product line. Following are things you should
know about this versatile and colorful product.
1. Concepts have a balanced Color Palette.
2. Easy to use numbering system.
· The first 2 numbers denote the color.
· The last number denotes the intensity of color.
· If the number is a 1, the color is light. If the number is a 2, color is bright. If the
number is a 3, the color is dark.
3. Concepts are a type of underglaze and are a glaze-type product that does not flow,
when properly applied, during the firing process.
4. The Concepts look is softer and not as sharp as a traditional underglaze when
detailed.
5. Concepts are applied to bisque. Its brushing properties feel different and the
colors do not dry as readily as underglazes applied to greenware.
6. Many of the Concepts colors high-fire. Always check the Color Selection Guide
and test before completing the actual piece.
7. Concepts can be mixed with other Concepts, creating new colors. Always
complete a test sample.
8. Most Concepts have a fired glossy finish. They are applied to shelf cone 04
bisque and should be glazed appropriately before glaze firing to shelf cone 06.
Concepts may be used for a variety of fired finishes.
9. Concepts are water based and can be cleaned up with water.
10. Can be used with overglazes, French Dimensions and most fired products.
20
Application
The bottle design allows two types of application. It may be applied holding the tip at an
angle against ware and gently squeezing color from bottle. French Dimensions may also
be applied by holding tip of bottle just above the ware and gently squeezing out product.
Shake bottle well before use. Before going to ware, squeeze a small amount of product on
to a paper towel to remove any air bubbles that may have formed when mixing. Apply to
shelf cone 04 bisque or greenware.
21
Materials Needed:
Cone 04 Bisque
DM 379D Antique Milk Pitcher or Similar Ware
Glaze
CN 2000D Clear Dipping
Brushes
SB 802 No. 1 Liner
SB 806 No. 6 Round
SB 807 No. 6 Fan Glaze
Miscellaneous
Water Bowl
Paper Towels
Palette
Pencil
Sponge
Instructions:
1. Remove dust and condition ware by wiping with a dampened sponge.
2. Use a pencil to sketch or transfer flowers to ware.
3. Place all Concepts colors on palette.
4. Work from outside edge toward center. Pull in strokes with the SB 806 No. 6
Round applying 2 coats of CN 022 Bright Saffron.
5. With the Round apply 2 coats of CN 073 Dark Scarlet to flower centers.
6. Apply 3 coats of CN 113 Dark Delft to handle of pitcher. Outline flowers with
Dark Delft and the SB 802 No. 1 Liner.
7. Let dry.
8. Dip pieces in CN 2000D Clear Dipping and set aside to dry.
9. When dry, stilt and fire to shelf cone 06.
22
Materials Needed:
Cone 04 Bisque
3656 Cute Tractor
Glaze
CN 2000D Clear Dipping
Brushes
SB 806 No. 6 Round
SB 807 No. 6 Fan Glaze
Miscellaneous
Water Bowl
Paper Towels
Sponge
Palette
Instructions:
1. Remove dust and condition bisque with a dampened sponge.
2. Place Concept color on palette.
3. Use the SB 807 No. 6 Fan Glaze to apply 1 coat of CN 183 Dark Kiwi over
entire piece.
4. Use a dampened sponge to wipe back color, leaving color in recess areas to bring
out detail. Rinse sponge often so color does not get muddy looking.
5. Apply 3 coats CN 253 Dark Black to tires and other desired detail using the
SB 802 No. 1 Liner and SB 806 No. 6 Round.
6. Let dry.
7. Dip piece in CN 2000D Clear Dipping.
8. When dry, stilt and fire to shelf cone 06.
23
Materials Needed:
Cone 04 Bisque
DM 2310 Square Frame
Glaze
CN 2000D Clear Dipping
Brushes
SB 807 No. 6 Fan Glaze
Miscellaneous
Water Bowl
Paper Towels
Sponge
Paper Cups
Picture Frame Back
Clear Adhesive
Instructions:
1. Remove dust and condition ware with a dampened sponge.
2. Place CN 081 Light Wine, CN 201 Light Grey and CN 311 Light Ginger in
separate paper cups and thin each with water to a wash consistency.
3. Apply 1 coat of CN 311 Light Ginger over entire frame with the SB 807 No. 6
Fan Glaze.
4. For the second coat, apply all three colors by loading the brush in a different color
each time you load the brush. Let colors blend making sure there are not any
defined lines between the colors to give the marbleized effect.
5. Let dry.
6. Dip piece in CN 2000D Clear Dipping, let dry.
7. Stilt and fire to shelf cone 06.
8. Attach frame back to frame with clear adhesive. Try Aleene’s® 7800 Platinum
Bond glue.
24
Materials Needed:
Cone 04 Bisque
8” Coupe Plate
Glaze
CN 2000D Clear Dipping
French Dimensions™
FD 258 Pure White
Brushes
SB 806 No. 6 Round
Miscellaneous
Water Bowl
Paper Towels
Scissors
Contact Paper
Palette
Sponge
Pencil
Instructions:
1. Remove dust and condition ware with a dampened sponge.
2. Trace hearts on contact paper with pencil and use scissors to cut them out.
3. Remove backing from hearts and adhere to coupe plate.
4. Place Concept colors on palette.
5. Using a dampened sponge, apply 2 coats of CN 082 Bright Wine to background
of plate.
6. Remove heart stencils.
7. Load the SB 806 No. 6 Round with CN 081 Light Wine and apply 3 coats to
hearts.
8. Add dots and scroll designs to hearts using the applicator bottle of FD 258 Pure
White.
9. Let dry.
10. Dip piece in CN 2000D Clear Dipping.
25
26
The following items will be used in this one-day course. These products should be
available for use in class. Numbers are based on classes of 12 students.
Materials Needed:
Cone 04 Bisque
DM 379D Antique Milk Pitcher
Scioto Mold 3656 Cute Tractor
DM 2310 Square Frame
8” Coupe Plate
Dipping Glaze
2 Gal CN 2000D Clear Dipping
French Dimensions™
6 FD 258 Pure White
Brushes
Have available for purchase
SB 802 No. 1 Liner
SB 806 No. 6 Round
SB 807 No. 6 Fan Glaze
27
Materials Needed:
Cone 04 Bisque
DM 379D Antique Milk Pitcher
Scioto Mold 3656 Cute Tractor
DM 2310 Square Frame
8” Coupe Plate
Brushes
SB 802 No. 1 Liner
SB 806 No. 6 Round
SB 807 No. 6 Fan Glaze
Miscellaneous
Water Bowl
Paper Towels
Palette Paper or Glazed Tile
Pencil
Sponge
Picture Frame Back (After Class)
Clear Adhesive-Aleene’s® 7800 Platinum Bond glue (After Class)
Paper Cups
Scissors
Contact Paper
28