ParagonHome Artist Kiln

Instruction &Service Manual

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IntroductionThank you for choosing the Paragon Home Artist kiln! We have designed it to give you many years of reli-able service.

The kiln changes clay into ceramics, one of the hardest materials known. Ceramic ware is so durable that itis among the few surviving artifacts from ancient civilizations. With your new kiln, you can make art piecesthat will last for many generations.

Please read this manual before firing the kiln. The manual will help you gain the most enjoymentfrom your Home Artist kiln and is bound to answer many questions. The manual could also save you money;failure to follow instructions can easily cause expensive damage to the kiln. This manual gives basic firinginstructions for greenware clay, glaze, overglaze, china paint, and glass. Please consult your supplier for spe-cific instructions on firing their products.

Inspect the kiln. When you receive your kiln, checkthe carton for damage (crushed, holes, etc.). Checkthe kiln for both interior and exterior damage. If thekiln is damaged, you can refuse the shipment and haveit returned, or accept the shipment after having thedriver note the damage on the Bill of Lading. Thencall Paragon at 800-876-4328 or 972-288-7557 (openMonday to Thursday, 7 a.m. to 5:30 p.m. Central).

Check the Bill of Lading to insure that you received the correct number of packages. Note any shortages onthe Bill of Lading, and have the driver sign the copy.

If there were no signs of visible kiln damage and you discover damage after the driver has left, notify theshipper immediately.

Save the shipping carton. It was carefully designed to provide maximum protection during shipping.Use the carton to take the kiln to seminars or on vacation, or to return the kiln to the factory for repairs.

Cracks, clicking, discoloration. Tremendous stresses are generatedwithin the kiln. The ceramic fiber firing chamber actually expands and con-tracts with each firing. Do not be concerned if small cracks appear in thefiber. This is normal. These are surface cracks that close tightly whenheated.

The paint and stainless steel wrap will eventually discolor from heat. This,again, will not affect the kiln’s performance.

During firing, you will hear an intermittent,distinct clicking. This is the sound of therelay sending power to the heating element.Do not be concerned with this sound.

The Electrical data plate. Important in-formation about your kiln is etched on its

electrical data plate. Please record this information below and include itwhen ordering parts or calling your dealer or the factory about your kiln.

P/N________________ SN___________ Model___________Volts____

©2002, by Paragon Industries, Inc. IM-214/9-02

“What is it about that meditative quiet whenkids are working with clay? I teach 3rd, 4thand 5th graders in a very poor neighbor-hood, and even the toughest 5th grader willlet down his ‘cool and tough’ act for clay.”

—Grace Sheese

Cracks in the firing chamber are normal.Please do not be alarmed by them.

SafetyOverfiring

The warranty on your Paragon kiln doesnot cover damage from overfiring,regardless of the circumstances. It is theoperator’s responsibility to make sure thekiln turns off at the proper time.

The Ceramic FiberAvoid touching the firing chamber surfacewith sharp or pointed objects. They candamage the fiber surface. Touching theembedded heating element with sharp orpointed objects is a shock hazard.

Read the Manual!Read each page of this manual in detailbefore operating your kiln. Warranty doesnot cover damage caused by failure tofollow instructions.

Food or Drink SurfacesSome decorative materials may be unsafeand toxic when used for surfaces that willbe in contact with food or drink. When youmake food or drink containers, select aglaze or glass that has been formulated,tested and labeled as approved forsurfaces that will be in contact with food ordrink. Follow the glaze or glassmanufacturer’s instructions exactly,without any variations.

The Orton Firing Institute We encourageyou to become a member of the Orton Firing In-stitute, where you will receive expert advice onmaking and firing clay. Call 614-895-2663 tojoin. Gain access to a wealth of experience foronly a nominal annual membership fee.

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ContentsSetting Up the Kiln . . . . . . . . . . . . . . . . 5

Electrical Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Where to Locate Your Kiln . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Transporting the Kiln. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Kiln Parts . . . . . . . . . . . . . . . . . . . . . . . . 6

Firing Preparation & Loading . . . . . . . . 7Shelves, Posts, Tile Setters & Stilts . . . . . . . . . . . . . . . . . . . . . . . . 7Kiln Wash and Glass Separator . . . . . . . . . . . . . . . . . . . . . . . . . . . 8Vacuum the Kiln Regularly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9Check the Thermocouple . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9The Basics of Kiln Loading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

The Basics of Firing the Kiln. . . . . . . . 10Venting the Lid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Protecting the Heating Element . . . . . . . . . . . . . . . . . . . . . . . . . . 10The Basics of Firing Clay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Removing the Ware from the Kiln . . . . . . . . . . . . . . . . . . . . . . . . . 11Firing Log Book. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11Preventing Overfires . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11Color Temperature Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11Power Failures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12Your First Firing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Firing Clay . . . . . . . . . . . . . . . . . . . . . . 12Pyrometric Cones . . . . . . . . . . . . . . . . . . . . . . . 12Low-Fire Greenware. . . . . . . . . . . . . . . . . . . . . . 13

Drying the Clay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13Loading and Firing Low-Fire Greenware . . . . . . . . . . . . . . . . . . . 14Greenware and Glazed Ware in the Same Firing. . . . . . . . . . . . . 14

Low-Fire Glaze . . . . . . . . . . . . . . . . . . . . . . . . . . 15Overglaze . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Decals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Glass Fusing & Slumping . . . . . . . . . . 17How to Cut Glass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17Fusing Compatibility of Glass. . . . . . . . . . . . . . . . . . . . . . . . . . . . 17The Annealing Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17Cleaning and Gluing the Glass. . . . . . . . . . . . . . . . . . . . . . . . . . . 18Loading the Kiln . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18Firing the Glass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Imperfection . . . . . . . . . . . . . . . . . . . . 19Bisque . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19Glaze . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19Underglaze . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19Overglaze . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19Glass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Maintenance . . . . . . . . . . . . . . . . . . . . 20Trouble-Shooter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20Replacing the Thermocouple . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21Replacing a Relay or Transformer . . . . . . . . . . . . . . . . . . . . . . . . 22Replacing the Temperature Controller . . . . . . . . . . . . . . . . . . . . . 22Replacing the Firing Chamber . . . . . . . . . . . . . . . . . . . . . . . . . . . 22Ceramic Fiber Repair . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Replacing the Lid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Glossary . . . . . . . . . . . . . . . . . . . . . . . . 23

Paragon Kiln Limited Warranty. . . . . . 24

Important Safety RulesAn electric kiln is extremely safe to operate provided you

follow these basic safety rules and pointers:

� Unplug kiln when not in use.� Do not touch hot sides.� Keep unsupervised children away.� Place kiln on a non-combustible surface.� Do not install closer than 12” from any wall or

combustible surface.� Fire only in a well ventilated, covered and pro-

tected area.� Keep cordset away from hot sides of kiln.� Do not open lid until kiln has cooled to room

temperature and the switch is off.� Keep the lid closed when kiln is not in use.� DANGEROUS VOLTAGE: Do not touch

heating elements with anything.� Disconnect kiln before servicing.� Do not leave kiln unattended while firing.� Wear safety glasses when cutting glass.� Wear firing safety glasses when looking into a

hot kiln.� Keep food away from your work area.� Never fire tempered glass inside a kiln. It

could explode.� Avoid firing toxic materials inside the kiln.

Additional Safety PointersNever leave the kiln unattended during firing. Check the

kiln from time to time. Observe the normal sounds that itmakes, and length of firing time. Observe the color of lightaround the edge of the lid.

Once you are familiar with the normal operation of yourkiln, you will know when something goes wrong. If the kilnfails to shut off and becomes too hot, you will know by thelength of firing time and by the color of light around the lid.Observing your kiln’s normaloperation is one of the mostimportant safety precautions.

Keep the lid closed whenthe kiln is not in use. Thiskeeps dust out of the kiln.Also, should someone turn on

the kiln while you are away, the closed lid will keep the heatsafely inside the firing chamber.

Never place anything on the kiln’s lid, even when the kilnis idle. If people become accustomed to placing papers andother objects on the kiln, they may forget and do that whilethe kiln is firing. During operation, the lid may get hotenough to burn combustible materials placed on top of it.

Remove all tripping hazards from around the kiln. Keepthe kiln’s supplycord out of trafficareas. Do not letthe cord touch theside of the kiln,which may damagethe cord. Avoid ex-tension cords ifpossible.

Do not removethe ware from thekiln until the kilnhas cooled to roomtemperature. It ispossible for thermal shock to break hot ceramic pieces. Thesharp edges of broken ware can injure hands.

After firing glazed ware in your kiln, examine the shelvesfor glaze particles. Sharp slivers of glaze stuck to the shelfcan cut hands. Before rubbing a hand over a shelf, be surethe shelf is free of glaze shards.

Fire only approved materials purchased from a knowl-edgeable supplier. Do not fire marbles, pieces of concrete,rocks, and other objects. Rapid heating to high temperaturecan cause violent reactions in many materials.

Greenware, which is unfired clay, must be bone-dry be-fore firing. Moist greenware can explode inside the kiln,damaging the ware and the kiln. Place a piece of greenwareagainst the inside of your wrist. Ifit feels cool, it is too wet to fire.

Do not fire cracked shelves.They can break during firing,damaging the ware inside thekiln. Store kiln shelves in a dryarea. Moist shelves can explodeinside a kiln.

If you smell burning plastic,turn the kiln off. Examine the walloutlet and supply cord for signs ofburning.

Never place extra insulation around the kiln in an attemptto conserve energy. Theextra insulation can causethe wiring and the steelcase to over-heat.

Keep loose-f i t t ingclothing away from the hotkiln.

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Place the kiln no closer than 12”or more fromthe nearest wall. Do not let the power cordtouch the hot sides of the kiln.

Do not fire the kiln if the walloutlet is damaged by heat.

“My grandmother, who has taught china paint-ing for 60 years, coached me during my first fir-ing. I treasure the memory of that moment of mylife with her.”

Darcy Giesseman

Setting Up the KilnElectrical Installation

You must plug your kiln into acircuit that no other appliance useswhile the kiln is firing. Turn off thecircuit breaker or unscrew the fusefor the circuit that your kiln will beplugged into. Check to see if otherappliances shut off too. If that cir-cuit powers appliances that mustremain on while the kiln is firing,plug your kiln into a different cir-cuit.

Caution: 120 volt kilns: avoid extension cords ifpossible. If you must use one, never use one smallerthan 12 gauge and longer than 20 feet. Never plug itinto a ceiling outlet!

Voltage fluctuation can vary firing time from as little ashalf to more than twice the average time. If the voltage is toolow, the kiln may never reach full temperature.

The receptacle must have a separate safety groundingwire. This protects you from serious electrical shock.

Where to Locate Your Kiln1 Place your kiln in a well ventilated, covered and pro-

tected area, such as a garage or basement. If thefumes can reach a living area, install a vent hood overthe kiln that ducts to the outside, or find a differentlocation.

2 Remove the lawn mower, gasoline, paint, and otherflammable materials from the kiln room. If you firethe kiln in a garage, park your car outside.

3 Provide a minimum of 12 inches’ clearance betweenkiln and the closest wall.

4 Never allow the temperature of your firing room toexceed 100 - 110° F. Measure the temperature about3 feet from the kiln. If necessary, use fans to lowerroom temperature. Do not fire the kiln in a small, en-closed space such as a closet.

5 Keep the kiln away from curtains and other combus-tible materials.

6 Keep the space above the kiln clear of hanging plant-ers and overhead shelves.

7 Position kiln on a level, fire-proof surface, such as aconcrete floor. If you place the kiln on a concrete floorfinished with linoleum tile, place a fireproof materialover the tile to protect it from discoloration.

8 Keep unsupervised children away.

9 Keep the power supply cord away from the kiln case.

There is little danger of serious burn from accidentalcontact if you exercise the same caution you would use withan electric iron.

Transporting the KilnSome people take their kilns to seminars or on vacation.

The easiest way to transport the kiln is to use the originalpacking materials.

If you no longer have the packing materials, transport thekiln in an upright position with the lid closed. Place a thinsheet of foam cushioning between the lid and the firingchamber to prevent rubbing. Avoid subjecting the kiln to ex-cessive vibration during travel.

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Do not allow room temperature to exceed 100 -110°F.

A thin sheet of foam packing will prevent abrasion be-tween the lid and firing chamber during travel.

“Before I ever took the first ceramics class, Iknew in my heart that I needed to be work-ing with clay. It’s something that reachesback into my childhood.”

Sheron Roberts

“Centering clay has a way of putting me intothat altered state where time doesn’t hap-pen.”

Millie Carpenter

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Switch BoxThe electrical compo-nents are housed in theswitch box.

Collapsible HandlePull the handle up tomove the kiln. Lower thehandle before firing thekiln.

Digital ControllerRegulate firing speed andtemperature with digitalaccuracy. See the sepa-rate controller manual.

Lid LatchThe latch is a reminder tokeep the lid closed until thekiln has cooled to roomtemperature.

Embedded Heating ElementThe heating element can burn out oncontact with ceramic glaze, kilnwash, glass, and contaminants con-taining silica and silica bearing com-pounds.

ThermocoupleThe thermocouple sensestemperature in the firingchamber. When loadingthe kiln, be careful not tohit or dislodge the thermo-couple.

Case VentsThe vent slots move airthrough a channel be-tween the firing chamberand outside case. Thislowers the kiln’s outer sur-face temperature.

On/Off SwitchTurn the switch offand and unplug thekiln when not in use.

Switch Box FuseThe fuse protectsthe control ler .Check the fuse if thedisplay is blank.

Ceramic FiberFiring ChamberCeramic fiber is a space-age, effi-cient insulation. Be careful to pre-vent glaze and other contaminantsfrom contacting the fiber shell.

Ceramic Fiber LidDo not place anything ontop of the lid, even when thekiln is not in use.

Lid PropProp the lid to ventfumes during theearly stage of firing.

Kiln Parts

“Working in my small studio keeps me sane andhappy. I forget about everything else and am grate-ful to do what I do.”

Heidrun Schmid

Firing Preparation& LoadingShelves, Posts, Tile Setters & Stilts

These accessories can be purchased from Paragonthrough an authorized dealer.

Kiln ShelvesShelves are flat slabs of fireclay that can withstand high

temperatures. Place a shelf on the kiln bottom for all firingsto protect the fiber bottom. By using multiple shelves, youcan stack more warein your kiln than youcould ever place onthe bottom of thekiln alone. Like anyother pottery, theywill break if dropped.

Kiln PostsPosts are made

from the same mate-rial as shelves. Postssupport and separatethe layers of shelvesin a kiln. The shorterthe post, the greater the stability. Posts can be stacked uponone another to achieve a greater height, but a single long postis more stable. Use 3 posts to separate shelves. Three postsare more stable than 4.

Stilts

At high temperatures, glaze becomes molten and stickspermanently toanything ittouches, such asthe ki ln shelf .Stilts prevent this.A stilt is a ceramicbase embeddedwith high temper-ature wire. Thesti l t suspendsglazed ware on thewire points to sep-

arate the piece from the kilnshelf. Stilts also allow air tocirculate around large, flatpieces.

Stilts can be used in fir-ings up to 2000°F. They can-not be used to fire porcelainand stoneware, which fire tocone 6 - 10. At those temper-atures, the wire pointswould embed into the clay.Stilts, however, can be usedto fire overglaze onto porce-lain at china painting tem-peratures.

Stilt points are made of a high temperature metal alloy.You can straighten metal points by bending gently with pli-ers. Remove glaze buildup on the points with a stilt stone oremery cloth. The oxidation of the wire can discolor the glazeat the stilt mark. Cleaning the wire points with a stilt stonesolves that problem.

Stilts come in a wide variety of shapes and sizes. The3-point tr iangularstilts support bowls,plates, and cups. Barstilts support longerpieces. Load orna-ments and eggs on stiltposts.

Be careful when youremove the stilt afterfiring. The stilt pointsleave a sharp edge in

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You can stack posts, but a single post ismore stable.

The stilt helps circulate air under this plate.

Straightening a stilt point.

Removing stilt marks with a stiltstone.

Triangular stilts are general purpose for cups,bowls and saucers.

Load ornaments onto a stilt post.

Cleaning stilt wire with a stilt stone.

Bar stilts support longer pieces andpieces with a large hollow base.

the glaze. Handle the ware carefully to avoid injury. Removethe sharp stilt marks with a stilt stone.

Tile and Plate SettersThese are holders used to stack plates and tiles inside the

kiln. Firing plates and tiles is more efficient with a tile or

plate setter than placing these items flat on the shelf. Thesetters not only save space in the kiln but also allow air circu-lation around the ware, preventing warping and breakage.The ware heats more uniformly in a setter than when placeddirectly onto a kiln shelf.

Bead RodsBead rods are used to fire glazed ceramic beads. The rods

are made from nichrome wire, which can withstand hightemperatures. The beads must not be glazed inside the holeand around the edge of the hole. String the beads onto thebead rods. The beads must not touch. Suspend the beadrods between two posts.

Kiln Wash and Glass SeparatorKiln wash and glass separator are mixtures of finely

ground minerals that do not fuse at high temperatures. Theyact as a barrier against glaze and glass. The kiln shelf mustbe coated with kiln wash or glass separator to keep ceramicglaze and glass from sticking to it. Without a barrier, theglaze or glass would embed permanently into the shelf.

(Both glass separator and kiln wash will be referred to as“separator.”) A coat of separator will usually last for manyfirings. When the shelf coating begins to crack or chip, apply

a fresh coat . Whenrecoating a shelf, removemost of the old coatingwith grit cloth (availablefrom Paragon). This isan abrasive-coated meshthat allows residue topass through. You couldalso use coarse sand pa-per. Removing the oldcoat ing gives you asmooth surface to startwith. Wear a respiratorwhen removing separator. Then recoat the shelf using thefollowing directions.

Caution: Do not apply separator to the ceramic fi-ber firing chamber walls, lid, or bottom. Contactwith separator will destroy the heating element,which is embedded in the walls.

1 Mix the separatorwith water follow-ing the directionson the bag. Stir.

2 Use a haik brush ora soft paint brushto apply the sepa-rator to the shelf.(The haik brush iseasier to use be-cause it lays down amore even coat-ing.) Each time you dip your brush into the separa-tor mixture, swirl the brush around the bottom ofthe container. This is because the separator settlesquickly. Start the brush stroke near the center of theshelf and work toward the edges. This is to avoid abuildup of separator on the edges.

3 Use two or three thin coats changing the directionof the brush stroke 90° with each coat. Let the sepa-rator dry for a few minutes between coats. Do notapply thick coats; they tend to flake off.

4 Dry the shelf completely before firing.

Note: Remove any buildup of separator from theedges of the shelf by tracing around it with a finger.Excess separator may break off the edges and fallonto ware positioned below the shelf.

Note: Place pyrometric cones (pages 12 - 13) only onseparator-coated shelves. But do not apply separatoronto pyrometric cones. It changes the maturingtemperature of the cone.

If glaze or glass sticks to the shelf, scrape it off with a puttyknife at a sharp angle. Wear safety glasses—sometimeschipped glaze becomes airborne. Then recoat the bare spotwith more separator.

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The tile setter saves space insidethe kiln.

Fire glazed beads on a bead rod suspended between two posts.

Use grit cloth to remove most of the oldseparator. Then apply a fresh coat.

Applying separator to the shelf.

Vacuum theKiln Regularly

Keep the fir ingchamber clean. Dustfalling on molten glazeleaves pinholes andother imperfections.Vacuum the kiln withthe soft brush nozzle ofa vacuum cleaner.Clean the inside lidsurface, walls, bottom,and the underside of shelves, especially before a glaze firing.Vacuuming is one of the most important steps in firing a kiln.

Check the ThermocoupleYou will find a rod, called the thermocouple, extending

into the firing cham-ber. The digital con-troller senses tem-perature by reading asmall voltage fromthe thermocouple. Ifthe tip of this rod ispushed out of the fir-ing chamber, thekiln will assume thatthe firing chamber iscold. This will resultin an overfire, whichcan damage yourkiln. When loadingthe kiln, check thatthe rod extends intothe firing chamberby the correct amount.� A 1/8” diameter thermocouple should extend into the fir-

ing chamber ½” - 5/8”.� A ¼” diameter thermocouple should extend into the fir-

ing chamber 1” or more.� Keep shelves, posts and ware at least 1” - 1 ½” away from

the thermocouple.

The Basics of Kiln Loading1 Always place a shelf in the bottom of the kiln for every

firing. This protectsthe ceramic fiberbottom. The shelfshould be coated withkiln wash.

Caution: Never fireglass or glazed waredirectly on the kiln’sceramic fiber bot-tom. Always f irethese items on ashelf.

2 To make full use ofyour kiln’s firing ca-pacity, group similarsizes of ware to-gether inside thekiln.

3 Place taller pieces onthe top shelf.

4 Keep ware at least 1”away from the heat-ing element. If the tipof a large piece ofware comes closerthan 1” to the kilnwall, position that section of ware between rows of el-ement.

5 For stability, stack posts so that they are directly inline with each other vertically.

6 Minimum spacing between shelves is 2 ½”.

7 Stack shelves so there is at least one row of elementbetween any two shelves.

8 Posts used with each shelf layer should be at least 1”taller than the ware.

9 Keep ware and ki lnshelves 1” - 1 ½” awayfrom the thermocouple.

10 If possible, load the topshelf to a height whereone element row is be-tween the top shelf andthe top of the kiln.

11 When loading ware andshelves, do not dislodgethe thermocouple.

12 Do not move the kiln or bump into it after you haveloaded it. This could topple the ware inside.

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Vacuum the kiln with the brush attachmentof a vacuum cleaner.

Group similar sizes of ware together.Place taller pieces on the top shelf. Lineup posts vertically.

Have at least one row of elementshowing above the top shelf, ifpossible.

The thermocouple measures temperature in-side the kiln. Keep shelves and ware at least1” away from the thermocouple.

Posts in each layer should be at least 1” taller thanthe ware. Minimum spacing between shelves is 2½” as shown above.

The Basics ofFiring the KilnVenting the Lid

Your Home Artist kiln is equipped with a lid prop. Duringthe first stage of firing, raising the lid with the prop allowsgases and water vapor produced by the ware to escape.

Note: If you do not prop the lid when firing itemsthat release moisture, the vapor will be pushed out ofthe firing chamber wherever it can escape, resultingin rust to the steel case and switch box.

For lusters andoverglazes, you mayneed additional vent-ing. In this case, youcan raise the lid an ex-tra inch with a shortceramic post.

Do not prop the lidto rush the cooling ofthe ware. This candamage the ware.Never open the lid un-til the kiln has cooledto room temperature.

Protecting the Heating ElementContact with silica or silica bearing compounds, such as

kiln wash, glass separator, alumina hydrate, glass, enamelingpowder, and ceramic glaze, will ruin the heating element.Never fire glazed ceramic ware or glass directly on the firingchamber bottom. Use a ceramic shelf to protect the bottom fromglaze drips, glass and enameling powder.

Caution: Your kiln’s heating element is embeddedin the walls of the firing chamber. Materials such asglass and glaze, if absorbed into the fiber walls, canruin the element. This type of damage is not cov-ered by warranty. Prevent glass separator, kiln wash,and alumina hydrate from falling from a shelf ontothe firing chamber. These materials can destroy theelement.

Note: If a contaminant such as dripping glass orglaze embeds into the firing chamber, unplug the

kiln. Allow to cool toroom temperature.Gently scrape offthe contaminantwith a knife, beingcareful not to dam-age the heating ele-ment. Vacuum thekiln.

� Be sure to ventglazed ware bypropping the lidduring the firststage of f ir ing.Glaze fumes can eventually crystallize on the firingchamber and element if the kiln is not vented.

� If you pour slip to make greenware, keep the kiln awayfrom the pouring area. Do not allow anyone with a glazebrush near the kiln. It is easy for glaze to end up on the el-ement.

� Keep glazed ware at least ½” away from the kiln walls. It ispossible for glaze to bubble and splash onto the kiln dur-ing firing.

� If you smooth out glaze imperfections before loading theware into the kiln, do it away from the kiln. The airborneglaze powder can contaminate the element.

The Basics of Firing ClayDo not fire plaster, plaster of paris, or polymer clay in the

kiln. Do not fire anything that requires a temperature higherthan 2000°F, such as stoneware and porcelain. You will prob-ably fire mostly slip-cast earthenware clay and porcelainchina blanks.

Clay is fired twice. The first firing is the greenware, orbisque, firing. The second is the glaze firing. The greenwarefiring hardens the raw clay so that it can accept glaze. Ifgreenware were glazed, the moisture in the glaze wouldweaken the unfired clay.

Note: Greenware is unfired clay. Bisque is fired claythat has not yet been glazed.

Burning Off the CarbonsSlip-cast clay is made by

pouring clay into a mold, thenafter a short period, pouringmost of the clay back out of themold. Slip-cast ware, as a re-sult, is hollow inside. Mostslip-cast clay can be fired rap-idly.

The larger and thicker theware, the slower it must befired. If you are in doubt abouthow fast to fire, then use yourdigital controller’s slow rate. Clay contains carbon and gasesthat must be released during firing. Venting the lid and firing

10 /

Slip-cast ware is hollow. If theclay is solid and very thick, it willbreak in the kiln.

Removing spattered glaze from the ce-ramic fiber wall with a knife. Caution: un-plug kiln. Avoid disturbing the element.

at the correct speed give gases sufficient time to escape.Firing too fast or without venting can result in these defects:� Breaking The ware can explode if water escapes too

quickly.� Black coring When you break the piece, a black line ap-

pears down the cen-ter of the clay’scross section. Thecarbon burned outof the clay surfacesbut not all the waythrough the crosssection of the clay.

� Bloating Thegases escaped toorapidly, causing theclay to becomebloated.

� Glaze bubblesand pinholesCarbon that did notburn out during thegreenware firing isreleased during theglaze firing. Es-caping gases rup-ture the glazed sur-face, causingbubbles and pin-holes.

� Porosity The firedware will be weaker.

Removing the Ware from the KilnWait until the kiln cools to room temperature before re-

moving the ware. In some cases, opening the lid too soon cancause crazing (tiny cracks in the glaze).

Firing Log BookRecord the following information in a firing log book:

� Date� Firing cone, speed and hold; or Ramp/Hold program� Starting time� When the lid was lowered from vented position� Total firing time� Type of pieces� Firing results� Ceramic firings: a sketch of the bent cone (pages 12-13)

Keeping a record offirings takes just mo-ments. As you gain expe-rience, you will find awealth of information inyour record book. It will

help you schedule firings, because you will know how long ittakes to fire each type of ware. The log book will help you de-termine, for instance, if the kiln will shut off in time for anappointment you have to keep, or whether you should beginthe firing when you return home.

Preventing OverfiresCaution: The warranty on your Paragon kiln doesnot cover damage from overfiring, regardless of thecircumstances. It is the operator’s responsibility tomake sure the kiln turns off at the proper time.

Your Home Artist kiln is equipped with a digital control-ler, which accurately adjusts the firing rate and shut-off tem-perature for the cone you program. However, it is still possi-ble to overfire the kiln. An overfire can damage not only theware and kiln furniture; a severe overfire can destroy the fir-ing chamber, requiring a complete replacement.

The following guidelines will help to prevent overfirings.Please make them a habit:� When loading the kiln, check that the thermocouple ex-

tends into the firing chamber by the correct amount. Seepage 9, left column.

� Ceramics: It is important to program the correct cone(pg. 12 - 13). Firing the ware too hot can melt the clay, ru-ining the kiln shelf. If the clay runs off the shelf, it canruin the kiln bottom. Before firing, use Program Reviewto check that you have programmed the correct cone.

� Use Program Review to be sure you have not inadver-tently programmed an extended hold time. This canoverfire the ware.

� As a safety precaution, learn to judge temperature by thecolor of the firing chamber. (The color of the interior ap-pears as a line of light at the seam between the lid and thekiln wall.) With experience, you can tell, by the coloraround the lid, how hot the interior is. If the controllermalfunctions and the kiln becomes too hot, turn off thekiln. Indications of an overfire: the firing time is longerthan usual, and the interior color is too bright.

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A cross-section of the fired clay shows ablack line. This is carbon that did not burnout completely.

Pinholes from underfired bisque.

Color Temperature ChartColor Cone Degrees F

Lowest visible red to dark red 022 to 019 885 to 1200

Dark red to cherry red 018 to 016 1200 to 1380

Cherry red to bright cherry red 015 to 014 1380 to 1500

Bright cherry red to orange 013 to 010 1500 to 1650

Orange to yellow 09 to 03 1650 to 2000

Yellow to light yellow 02 to 10 2000 to 2400

“When you concentrate on making a pot, you have no time to dwell onyour problems. I know a therapist who used clay in working with suicidalteens. She has worked wonders with these kids.”

Mike Gordon

Power FailuresIf a firing that has

reached red heat is inter-rupted by a power failure,it is best to resume firing before the kiln cools below redheat. Press the START key to resume firing.

Your First FiringFor your first firing, position only the kiln-washed shelves

and an 06 cone in the kiln. Fire the kiln without ware. Fumesfrom clay or glaze may interfere with the formation of an ox-ide coating on the element during the first firing.

1 Clean the kiln with the brush attachment on a vac-uum cleaner.

2 Apply kiln wash to the tops of the shelves.

3 Load the shelves into the kiln, separating them withposts. Place an 06 cone on one or more shelves. Airmust circulate around the empty shelves; they maycrack if you stack them in the bottom of the kilnwithout posts.

4 Prop the lid with the lid prop.

5 Program the firing for an 06 cone. See the separateinstructions for your digital controller. PressSTART.

6 Close the lid from the vented position after onehour.

7 After the kiln shuts off, allow the kiln to cool to roomtemperature before opening the lid.

Note: Do not be concerned about the clicking noiseyour kiln makes during firing. Your kiln contains arelay, which sends power to the element. The relayclicks as it cycles on and off to maintain the correcttemperature.

Firing ClayPyrometric Cones

Ceramists of the past judged when the firing was com-pleted by the color of the heat and length of firing. In 1886, aGerman ceramist named Seger made clay cones that bentwhen the ware received the proper heat work. He positionedthe cones on a shelf inside the kiln. By looking through a viewport in the kiln, he could see the cones bend and knew whento turn off the kiln. His cones took the guesswork out of fir-ing.

Today we still use Seger’s cones.They are small pyramids of clay andmineral oxide that soften and bendwhen exposed to heat. When con-sulting your dealer with a glaze prob-lem, you should have a bent conefrom that firing. The cone will helptrouble shoot the problem. The conelets you compare one firing to thenext. If the cone bends less and lesswith each firing, it indicates that thethermocouple is wearing and willsoon need replacement. Withoutcones it would be difficult to knowthat.

Cones are manufactured by the Orton Ceramic Founda-tion and available from your distributor.

Cone NumbersThe most confusing thing about cones is the way they are

numbered. But once you un-derstand the reason behindthe numbers, the system be-comes clear. Pyrometriccones are numbered from022 through 01 and 1 through10. Cone 022 matures at thelowest temperature, and 10matures at the highest. Segernumbered his original conesfrom 1 to 20, with 1 being thelowest temperature. Later,cones of even lower tempera-tures were needed, so newnumbers were added. Thenew numbers started with“0” and went from 01 to 022,with higher numbers gettingprogressively cooler.

To avoid confusion, think of the “0” as minus. Numberswithout the “0” are positive. The higher the positive num-ber, the higher the temperature. “0” numbers are negative.The higher the negative number, the lower the temperature.With this understanding, you can quickly see that cone 5 is

12 /

During the first firing, do not fire ware. Fire only emptyshelves and posts.

Self-supporting conesmust be broken apart be-fore use. Note that thecone number is stampedon the base.

hotter than 05. The number is stamped on the base of thecone. The cone number for each material is usually stated onthe label by the clay or glaze manufacturer. Your supplier canalso give you the cone number.

Heat WorkCones are rated by temperature. But it is more accurate to

think of them as measuring heat work, not temperaturealone. Heat work is the combined effect of time, tempera-ture, and the atmosphere inside the kiln. All these factors af-fect the maturity of your ware and not just temperature. Forinstance, firing to a lower temperature for a longer time willproduce the same maturity as firing to a higher temperaturefor a shorter time.

Consult your supplier for recommended firing rate.(Rapid firing is like cooking: the turkey may be done on theoutside but not on the inside.)

Using ConesPlace the cone on a kiln shelf

with the ware or on a blank tile.Kiln wash shelves or tile beforeplacing cones on them. (See page8.) You do not need to place a conein every firing, though it is a goodidea to do so. The cone slants 8degrees from vertical and bendsin the direction of the slant. Placethe cone so that it will not touchnearby ware as it bends. Conescome in either standard orself-supporting. Standard largecones must be mounted in a clayor wire plaque with 2" of the coneexposed above the cone holder.Self-supporting cones stand up-right without holders. We recom-mend self-supporting cones;they are easier to use than stan-dard large cones.

Handle cones carefully. Ifdropped, they may develop cracksthat could affect their perfor-mance. Age and normal humiditydo not affect the accuracy of cones. However, do not usethem if they become wet. For more information on pyromet-ric cones, see your kiln’s digital controller manual.

Low-Fire GreenwareClay is fired in two separate firings: the greenware firing

and glaze firing. You can buy ware that has already beenthrough the first firing. It is called bisque ware. Simply glazethe bisque and fire again. If you are firing greenware, readthis section. If you are doing only glaze firings, skip to thenext section, page 15.

Drying the ClayGreenware should be completely dry before you place it in

the kiln. Moist greenware can rust the kiln and can explode iffired too fast. Some people use an infrared light bulb to drythe clay. It may be necessary to use a dehumidifier. Dry theware evenly. A raised surface, such as a rack, will help air tocirculate freely around the clay. Do not dry the clay too rap-idly, especially thick pieces, or the clay will crack.

1 Give the greenware enough time to dry. Drying timedepends on humidity.

2 Touch the greenware to the inside of the wrist or tothe cheek. If it feels warm, it is usually dry. Dry longerif it feels cool. (Note that in humid areas, even dampgreenware can feel warm. The humidity causes themoisture in the greenware to stop evaporating.)

3 If you live in a humid area and the greenware is stillmoist after an extended drying time, load it into thekiln. Prop the lid with the lid prop. Fire to 200°F/93°Cat a rate of 100°F/55°C in Ramp-Hold mode. Main-tain 200°F/93°C hold until the greenware dries com-pletely—usually 2 hours of hold time. (See the sepa-rate controller instruction manual.)

Caution: Do not fire the greenware higher than200°F/93°C until it has completely dried.

Testing for Dryness with a MirrorHold a mirror above the propped lid for a few seconds

where hot air from the kiln will move across the mirror’s sur-face. If the mirror fogs, the greenware is still releasing mois-ture. Keep the lid propped and hold 200°F/93°C until themirror no longer fogs.

The mirror must be at room temperature for this test.The mirror fogs when moisture in the hot air condenses onthe cooler mir-ror. If you holdthe mirror toolong near thekiln, the mirrorwill heat up andwill no longerfog when mois-ture hits it. Sohold it at the lidfor only severalseconds at atime.

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Standard large cones requirea clay or wire plaque to holdthem upright.

Position the cone so that it willnot touch nearby ware when itbends.

32

1

Bending results1) Under-fired cone;2) Correctly fired cone;3) Over-fired “puddled” cone.

Loading and FiringLow-Fire Greenware

Low-fire greenware has a firing range from cone 06 to 02.The greenware must be bone dry before firing. Otherwise, itwill crack or even explode during firing. Check for dryness bytouching to cheek or the inside of a wrist. Ware will be cold ifnot dry. Another indicator of moisture is patches of darkercolor in the clay.

Handle greenware carefully. Cradle the pieces from thebottom. Do not lift by a rim. Low-fire greenware pieces donot stick together during firing. Therefore, greenware maybe stacked so that it touches each other. Place small itemsaround larger ones. You can also place light greenwarepieces inside larger ones. This is called nesting. Be sure that

there is plenty of room for expansion inside the larger pieces.Pack nested pieces lightly so that heat can still circulatefreely around each piece. Black rings in the fired ware indi-cate that the nested pieces were packed too tightly to burn offall the carbon.

Greenware does not need stilts. Fire ware in the positionin which it will be used when finished, except for large pieceswith flat, vertical surfaces such as wall plaques and clocks.These should be fired flat to prevent warping. Pieces to beused together, such as a box with its lid, should be fired inplace to ensure a good fit. You can also stack mugs and bowlsrim to rim.

Low-fire greenware firing is simple. Just be certain thegreenware is fired to the pyrometric cone recommended bythe clay supplier. If the greenware is not fired hot enough,the piece will absorb moisture after it has been glaze-fired,causing the glazed surface to crack. This is called “crazing”and is most often due to underfired greenware. To helpeliminate crazing, fire greenware at least one cone hotterthan glaze, and even hotter if glaze can still be applied easilyto the hard bisque. While glaze may be applied to greenwareand fired once, separate firings produce better quality, so wedo not recommend single firing of greenware and glaze.

Allow the kiln to cool to room temperature before openingthe lid.

Greenware and Glazed WareIn the Same Firing

The clay is fired in two separate firings: the greenware, orbisque, firing, and the glaze firing. Greenware should not befired in the same load as glazed ware. Not only do the twotypes of ware mature at different temperatures, but gasesfrom the greenware can discolor the glaze and also causeglaze bubbles.

If you must fire greenware and glaze pieces in the sameload, place the glazed pieces in the bottom of the kiln and thegreenware pieces on a shelf above.

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“Nested” greenware must not be loaded too tightly.

Fire greenware box and lid together to ensure a good fit.

“The profound experience of working withclay is to have a three dimensional image inyour head, and then have it come outthrough your hands.”

Marie Gibbons

Lids and bowls are fired together in the greenware firing.

Low-Fire GlazeYour hands must be clean when touching glazed ware. Oil

and hand lotion will leave finger prints. If you scrape off ordamage the color during handling, you can usually repair itby applying more glaze over the damaged spot before firing.

The difference between loading greenware and glazedware is that glazed pieces must not touch each other, thefloor, or a shelf in your kiln during firing. If this happens,they will be permanently bonded together and ruined by themelted glaze.

The natural expansion and contraction of the ceramic fi-ber during each firing generates tremendous stresses withinthe firing chamber. As a result, fine grains of dust may formon the firing chamber and should be removed before eachfiring. Vacuum the walls, bottom and inside surface of the lidwith the soft brush nozzle attachment of a vacuum cleaner.

Glaze and clay must expand and contract at the same rate.If the glaze shrinks more than the clay, the glaze will “craze,”forming small cracks. Ifit expands more than theclay, it will “shiver,”breaking off in sections.Test each clay and glazecombination using clayscraps such as brokenbisque pieces.

Use stilts to supportlow-fire glazed ware dur-ing firing. The shelf topsand floor MUST be kilnwashed with all purpose,high fire kiln wash for protection from glaze drops.

Note: Kiln wash only the top side of the shelf. Kilnwash on the underside of the shelf will flake off ontoglazed ware placed below the shelf.

Caution: Never apply kiln wash to the ceramic fiberfloor of the Home Artist Kiln.

Glazed pieces must be thoroughly dry before firing andshould not be fired with greenware unless both mature at thesame cone. Even then, separate the glaze from thegreenware by loading glazed pieces in the bottom of the kilnand greenware on shelves above. Low-fire glaze usually firesto a lower cone than greenware, so firing time will be shorterif glazed pieces are loaded separately.

Check to make sure that first, no two pieces of glazedware are touching each other, the kiln walls, the floor or theshelves; and second, that the underside of the kiln shelf isclean before you place it overglazed pieces. Any dust falling onyour ware will cause pinholes.

To eliminate stilt marks, youcan prevent glazed pieces fromsticking to the shelf by “dry foot-

ing.” This is an alterna-tive to stilting. To “dryfoot” a piece, remove allglaze from the portion ofthe piece that will rest onthe shelf. Using a wetsponge or a piece of gritcloth, clean off the glazefrom the bottom of theware and slightly abovethe base so that it will notrun down and touch thebase. Do not use dry foot-ing for low-fire glazed pieces that will be placed in waterwhile used or cleaned. The unglazed areas will absorb water,which can cause glaze crazing.

Vent the lid with the lid prop for about an hour. Red glazesshould be placed in the top of the kiln for extra venting. Sepa-rate clear glazes from colors. Load clear glazes in the bottomof the kiln and colors above them. Pieces that go together,such as a cup and saucer or bowl and lid, should be placednext to each other. This helps assure uniformity in color.Keep pieces ¼ to ½” apart. The bubbles and gases emittedfrom glazes can contaminate other nearby pieces. If you arefiring ware draped with lace, vent the lid until all smoke dis-appears.

To keep holes in glazed salt and pepper shakers fromclosing in with glaze, insert tooth picks in the holes. Theywill burn away during the firing.

Allow the kiln to cool to room temperature before openingthe lid.

Feel free to experiment with firing speed usingthrow-away samples of bisque. Some glazes look betterwhen fired at a particular speed.

Remove the stilts from the ware after firing by breakingthe thin film of glaze holding them. Handle with caution. Re-move the sharp stilt edges by rubbing with a stilt stone, elec-tric grinder or hand grinder. (See photo, page 7.)

/ 15

Use stilts to separate the ware from thekiln shelf.

“Dry footing” means removing the glazefrom the base of the piece. This elimi-nates the need for stilts.

In the greenware firing, a bowl and lid are fired together. In the low-fireglaze firing, they are kept separate as shown above.

“Many of our customers, in very stressful jobs, find releasethrough clay. One, a doctor, found clay to be the road back from amental breakdown.”

Stephen Mills

OverglazeOverglaze is decoration applied over fired glaze or pol-

ished porcelain bisque. Overglazes include china paints,gold, and luster, which fire from 022 to 014.

Use stilts to increase the flow of heat under the pieces,and make sure ware is not touching other ware. Hard-bodiedporcelain can be stilted. But do not stilt soft-bodied waresuch as bone china. The stilt would embed into the glaze.Ware must be completely dry before firing. Removesmudges and fingerprints from the bottom of pieces. Wipedust off the pieces with a soft silk cloth.

Note: Use stilts to increase the air flow under pieceswith large, flat surfaces, or sections that vary inthickness. You can place small pieces directly on thekiln shelf.

Test fire all china paints on the glazes you are using.China paints will crack or peel if applied heavily. Apply sev-eral light coats instead, firing between each, until you get theshade you want. Not all china paint colors reach maximumcolor saturation at the same temperature even when fired onthe same ware. So you must know which colors you shouldfire first at higher temperatures to prevent burning out theoriginal colors in later firings. For example, reds mature at alower temperature than other colors and are fired after theother colors have been fired. Do not fire reds and yellowsside by side. Colors also mature at a lower temperature onceramic pieces than on porcelain or hard china. Check theoverglaze manufacturer’s literature for information onwhich cone to use with each color and type of ware.

Tiles and other large, flat pieces sometimes crack whenplaced flat against a shelf. Use tile setters to distribute heat

evenly around the pieces, or place them on top of a stilt for aircirculation. The vertical plate holders minimize the chanceof debris inside the kiln from falling on the plates. But firingplates horizontally is necessary when using certain decora-tions. In this case, you can use either a horizontal plate

holder, or place a triangular stilt under the bottom plate, anda stilt between each plate stacked on top. Stacking plateswith stilts should be limited to 3 or 4 plates. Line the stiltsvertically.

Note: When separating horizontal plates with trian-gular stilts, load the plates gently. Otherwise thechina painted plates will scratch.

When firing overglaze, vent the lid with the lid prop untilall smoke and odor from china paint oil and other organicmaterials has vanished. How long this takes depends on howmuch decoration is on the ware. Gold and lusters will lookdull if not vented. Some colors, such as red, need especiallythorough venting. To be on the safe side, you can leave the lidin vented position throughout the entire overglaze firing.

The kiln can be fired at the kiln’s Fast speed for mostoverglazes. Larger pieces should be fired slower. Some ma-terials, such as bone china, also need a slower firing. Chinapaints fired at a slow speed absorb more thoroughly into theglaze. If you are in doubt about speed, fire slower. It is notworth risking pieces you spent time on to fire the kiln fast.

Use the kiln’s hold feature to soak china paint at the firingtemperature. A 15 - 20 minute hold gives china paints time toabsorb more deeply into the glaze. Before firing valuablepieces, do a test with hold time. Too much hold time canburn out china colors.

Slow cooling is important for some materials, such asgold. Glass paste on porcelain should also cool slowly. Besure the kiln room is well ventilated. Allow the kiln to cool toroom temperature before opening the lid.

DecalsSqueeze bubbles out of the decal when applying. Vent by

leaving the lid open all the way until the fumes burn off.Then prop the lid throughout the rest of the firing.

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Separate horizontally stacked china painted plates with stilts. Do not stiltsoft-bodied ware such as bone china.

Firing plates vertically minimizes the chance ofdebris falling on them during firing.

Glass Fusing &Slumping

You will probably fire mostly stained glass, but you canalso fire standard float (window) glass. Some types of floatglass devitrify (form a dull, frosty surface) when fired.

Caution: Never fire tempered glass. It could ex-plode if heated inside a kiln.

Basic Glass ToolsReservoir Glass Cutter uses a reservoir of oil to lu-

bricate the cutter wheel.

Running Pliers are for cutting large pieces of glass.

Breaking Pliers are for cutting small strips.

Grozing Pliers shape the glass by chipping away theedges. They are often used when the score line doesn’t breakcleanly. Note that rough edges will become smooth whenfired to fusing temperature.

How to Cut GlassNote: IMPORTANT! Wear safety glasses when cut-ting or chipping glass.

1 Lay the glass on a clean surface. Mark off the cut witha grease pencil or felt-tip pen. A small mark on eachend of the glass will do. Lay a wooden straight edgeover the glass and line it up with the marks you justmade.

2 Hold the straight edge firmly and score the glass withthe glass cutter. Press just hard enough so that thescoring noise sounds steady and unbroken.

3 Place the straight edge under the glass so that an edgeis lined up with the score line you just made. Pressdown on the glass. It will break cleanly.

Fusing Compatibility of GlassWhen glass changes temperature, it expands and con-

tracts. The rate at which glass changes size is called the coef-ficient of thermal expansion. If you fuse two glass pieces to-gether and one changes size faster or slower than the other,the fused piece may crack—even several months after re-moving from the kiln.

When different glasses have a close enough coefficient ofexpansion to fuse successfully, they’re called fusing compati-ble. Buy glass labeled fusing compatible. Or fuse glass thathas been cut from the same sheet, which guarantees com-patibility.

Fusing Compatibility Test1 To test glass for compatibility, fuse small ½” square

sample pieces of different glasses onto a larger basepiece of clear transparent. It should extend beyondthe small sample pieces by half an inch on each side.One of the sample pieces should be cut from the basepiece.

2 Heat the glass to a temperature that completelyrounds the edges of the small sample pieces.

3 After the glass cools, place a polarizing filter underthe glass and another filter over the glass. Look at theglass with light shining through it (hold it over alamp). Turn one of the filters until the filters are attheir darkest.

Results of the TestIf you see a halo around the edges of the small glass sam-

ples, this usually means the glass is not compatible. If yousee no halo, the glass is fusing compatible.

Why did we include a sample square cut from the basetransparent glass? It tests for annealing. A halo around thatpiece means the glass was not annealed properly. Performthe test again, this time cooling more slowly through the an-nealing range.

The Annealing RangeEach type of glass has a temperature range that it must

pass through slowly when it cools. This is called the anneal-ing range. This slow cooling gives hot glass time to releasethe stress of cooling. If you cool the glass too fast through theannealing range, it will break.

The larger and thicker the glass, the slower it must passthrough its annealing range. You cannot over-anneal, so erron the side of caution if you aren’t sure how long to anneal.Small projects such as earrings rarely need annealing time asthey cool.

/ 17

Cleaning and Gluing the GlassGrease, dirt, and fingerprints etch permanently into the

glass during firing. Clean the glass with glass cleaner (thetype without silicones), rubbing alcohol, or even plain waterjust before assembling the pieces on the kiln shelf.

Use white glue, such as Elmer’s diluted 1:1 with water, tohold the glass piecestogether after youplace them on the kilnshelf. Use the gluesparingly. Glue is es-pecially importantwhen fusing wire intothe glass. The glueprevents the glass orwire from moving outof place before theyfuse. The glue disap-pears during firing.

Avoid using glue onthe coated side ofdichroic glass. If youlay dichroic glasscarefully onto thepiece, glue is unnec-essary, so avoid it alto-gether if you do notknow which side ofthe dichroic is coated.

Loading the KilnAir should circulate between the shelf and the bottom of

the kiln, so place three or four 1/2” posts in the kiln. Lay theshelf over the posts.

Firing the Glass1 Vent the kiln by propping the lid with the lid prop.

Venting allows the gases released to escape. Whenthe kiln reaches 500 - 800° F / 260 - 426°C, lower thelid from the vented position.

2 The first time you fire a particular brand or type ofglass, program the controller for a higher tempera-ture than the estimated fusing temperature. Watchthe glass by opening the lid 1” for several seconds ata time. Shut the kiln off when the glass fuses the wayyou want. Make a note of the shut-off temperature.For future firings, program the kiln for that tem-perature and rate.

Note: With every firing, be sure you are near the kilnbefore the expected shut-off time.

3 After you shut the kiln off, vent the lid for 10 min-utes by using the lid prop. Then close the lid.

4 The annealing range for most glasses is between950°/510°C and 700°F/371°C. Cool slowly throughthis annealing range. Leaving the door closed willslow the cooling enough for most projects. If youneed even slower cooling, program a separate seg-ment for cooling. See the kiln’s digital controllermanual.

Note: For safest cooling, leave the ware inside thekiln until the kiln reaches room temperature. If youremove the ware too soon, the sudden temperaturechange can crack the piece.

18 /

Looking at the glass during firing. Open the lid about 1”. Always wear firingsafety glasses when looking at the hot glass.

“I used to have this wonderful haiku pinnedup above my kiln when I had my studio:

“‘Now that my house has burned down, Ihave a better view of the rising moon.’

“During firing, I would lose stuff that I hadmade. Things I thought would be beautifulturned out ugly. The haiku helped me real-ize that I had to live with loss and ‘failure’and learn from it.”

Sandra Dwiggins

ImperfectionPoor firing results are naturally disappointing, especially

after you have spent hours on a piece. Mistakes are an inevi-table part of the learning process. They are bound to happen.The time spent making a faulty piece is never time wasted ifyou learn from the mistake. Use this section to find out howto make the ware better the next time.

BisqueWarped ware can be caused by distorting upon removal

of the piece from the mold, firing too close to the elements,or firing a piece in an unnatural position.

Sagging ware is usually the result of overfiring.

GlazeCrazing is usually

caused by underfiredbisque. Bisque should befired to the highest tem-perature at which it willstill take glaze. Crazedware may be refired tothe proper cone. CAU-TION: China paints andother overglazes willburn off when fired to 06.

Glaze too thin in spots can be caused by uneven glazingor a “hard spot” on the bisque. Ceramic glaze should be ap-plied in flowing coats; first in one direction and the next coatin an opposite direction (horizontal, then vertical orvice-versa). Allow to dry between each coat. Some glazes mayrequire twice the recommended coats because of thin appli-cation. “Hard spots” are sometimes the first spot where thepoured slip touches the mold. Heating bisque in an oven toapproximately 120 degrees F. will help in applying glaze tohard bisque.

Crazing immediately on removing from the kiln canbe caused by not firing the ware hot enough or opening thelid while the kiln is still hot. Refire to the proper cone.Crazing in spots can be caused by not having mixed the glazethoroughly before using.

Black specks in the ware are usually caused by organicmaterials not completely burned out in the bisque firing.This works its way to the surface during the glaze firing.

Pinholes and bubbles in glazed ware can be caused bytoo heavy a glaze application, by severe underfiring or by duston the bisque. Underfired bisque still contains carbons thatdid not burn off completely. During the glaze firing, thesegases rupture the glazed surface, causing pinholes and bub-bles. Damp bisque can reduce the number of air pockets andpinholes that may form when glaze dries too quickly. Cleanbisque with tap water or use a base coat of glaze thinned 3parts glaze to 1 part water immediately before applying glazein the usual manner to the bisque.

Poor color in colored glazes can be caused by too thin anapplication, placing ware too close to an element or to otherglazed ware which may be incompatible, insufficient ventingduring the early stages of firing, or overfiring glazes in thered family.

Light edges on dark glass glaze pieces may be caused bythe flow of the glaze away from the edges in two directions.Try an extra coat of glaze on the edges, or apply a thin coat ofunderglaze in the following manner: Mix 1 part water with 2parts of suitable dark or black underglaze and brush a thinwash coat of the underglaze over the bisque ware. Then, im-mediately apply the first regular coat of full strength glaze.Allow to dry thoroughly between coats. Continue with num-ber of coats recommended by the manufacturer.

Sagging glaze is usually caused by applying too muchglaze on a vertical surface causing the glaze to actually sagwhen fired.

Crawling or bare spots on a fired piece can be causedby applying the glaze too heavily. Oil from your skin that getson the greenware before it isfired can also cause this. An-other cause may be hardspots from too much polish-ing of your greenware whensponging. A few drops ofvinegar in your spongingwater will help alleviate thisproblem. Crawling may becorrected by applying moreglaze to these spots andrefiring.

UnderglazeStreaks in underglaze are usually caused by not applying

enough coats to the greenware. After a piece has been deco-rated with underglaze and fired, you may check it for streaksby submerging it in water and immediately removing it. Thepiece will appear glossy, just as if it had been glazed, andstreaks and thin spots will show up. The weak spots can betouched up and refired. Be sure the underglaze has beenfired before putting it under water. For interesting designs,underglaze colors may be applied over unfired matte or tex-ture glazes that do not flow.

OverglazeBreaking in overglaze firing can be caused by poorly

fired bisque. A slow bisque fire is always better for ware thatis to be china painted. The greenware should be completelydry before being placed in the kiln. Standing plates on edgeor using a plate holder gives good heat circulation and willhelp prevent plate breakage.

Purple spots in gold are usually due to a thin applicationof gold or too much thinner. If gold is applied accidentally toan area it will show purple after being fired unless cleanedwith a good gold remover.

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Crawling, or bare spots.

Crazing appears as tiny cracks.

Broken lines in gold can be caused by overfiring or tooheavy an application. However, this is can be very attractivewhen gold is crackled over a dark color of fired glaze.

Peeling china paint can be caused by the paint beingapplied too heavily.

Loss of color in china painting is usually a result ofoverfiring or thinning your paint with too much mediumwhen applying.

Faded colors in overglaze decals are a result of eitherunderfiring or overfiring. If pinks and reds are drab, refire toa hotter cone. When used with a china paint background, ap-ply and fire the decals first, then china paint and fire again.Check the recommendations of decal supplier. If decal wasunderfired, refire to proper firing cone. If decal wasoverfired, the design may be repainted in china paints andrefired.

Weakening of luster colors can be caused byoverfiring.

White spots in lusters or metals can be caused by mois-ture on the ware before it was placed in the kiln or from hav-ing been fired at the same time as other overglazes. Applylusters only on a dry day.

Powdering of luster colors can be caused by too heavyan application.

GlassGlass Cracking is caused by heating or cooling too fast orfusing incompatible glass. Not enough glass separator on theshelf can also cause glass cracking.

Most problems in fusing are caused by rushing the firing.The glass must change temperature slowly during the criticaltemperature range of 100° - 500° F. This critical range appliesto both heating and cooling.

The second critical temperature range is annealing, whichis the cooling range of 950° - 750°F average. Cool the glassslowly during this range so the stress in the glass will have timeto dissipate.

If you become impatient after the glass has fused and youopen the kiln for a few seconds to peek inside, you may hear a“ping,” which is the sound of glass cracking. Avoid the tempta-tion to open the kiln. Wait until the kiln has cooled to roomtemperature. Some artists schedule their fusing so that it iscompleted before they go to bed. That way they will be asleepwhile the glass cools and they won’t be tempted to open thekiln while it is still hot.

After each firing, examine the shelf. Recoat if the kiln washis chipped. When glass sticks to a bare section of shelf, theglass will crack.

Glass Bubbles are often caused by heating the kiln too fast.Air, grease or dirt trapped between layers of glass can causebubbles. Other causes are uneven glass volume, and moistureor air trapped between the glass and shelf.

Make sure the shelf is completely dry before firing. If youhave applied fresh glass separator, leave the shelf in the kiln at300°F for 30 minutes before placing glass on it.

One way to eliminate bubbles is to hold the temperature at100°F below fusing temperature for 20 minutes. This gives theshelf time to heat up to match the temperature of the glass.

Glass Separator Sticks To Glass when fired too hot. In-stead of firing to a full fuse temperature, try firing 50°F coolerand holding at that temperature for twenty minutes.

MaintenanceTrouble-Shooter

Kiln Does Not TurnOn, Display is Blank

� Make sure the circuitbreaker is in the “on”position.

� If the breaker is on,check the kiln’s fuse. Itis located on the kiln’sswitch box. Remove thefuse by pressing on thefuse holder and turningcounter-clockwise half aturn. Check the fuse byplacing the probes of anohmmeter on the ends ofthe fuse. If the ohmeterreads less than one ohm (digital meter) or reads 0 ohms(analog meter), the fuse is bad. Replacement fuse:

AGC ½ A 250V AC

Note: If you do not have an ohmmeter, visually in-spect the fuse. You will see a thin strand of unbrokenwire in a good fuse. The wire usually appears brokenin a burned fuse, like the filament in a light bulb.

Circuit Breaker Trips� If the circuit breaker trips after the kiln has fired for

awhile, make sure no other ap-pliances are operating on thesame circuit as the kiln. Thebreaker may need replacing.The breaker may have trippeddue to loose connections in thebreaker box. If the fuse or circuitbreaker panel feels unusuallywarm, have your electriciancheck for loose connections,particularly at the center screwof the fuse socket, even in a new fuse box.

� If the circuit breaker trips immediately after the kiln isturned on, the kiln may have a short circuit. Unplug thekiln. Open the kiln switch box and look for a loose wiretouching the case.

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Temperature is Inaccurate� Make sure the thermocouple extends into the firing

chamber by the correct amount:

A 1/8” diameter thermocouple should extend into the firingchamber ½” - 5/8”.

A ¼” diameter thermocouple should extend into the firingchamber 1” or more.

� If the temperature is inaccurate even though the thermo-couple extends into the firing chamber correctly, replacethe thermocouple.

Replacing the Thermocouple

1 UNPLUG the kiln.

2 Remove the screws on the sides of the switch box thathold it to the kiln. Gently lift the box away from thekiln.

3 Remove the two screws securing the thermocoupleceramic block to the kiln. Remove the thermocoupleassembly from the kiln.

4 Slide the new thermocouple assembly into the hole inthe kiln wall. The thermocouple should protrudeinto the firing chamber ½” - 5/8” for a 1/8” diameterthermocouple, and 1” or more for a ¼” diameterthermocouple. To adjust the thermocouple length,change the gap between the thermocouple and the

ceramic block. Then securely tighten the 4 screws inthe ceramic block.

5 Fasten the ceramic block to the heat shield with thetwo screws removed in step 3.

6 Remove the 4 screws holding the controller faceplateto the top of the switch box. Lift out the faceplate.

7 Remove the 2 thermocouple wires attached to theback of the controller. They are held in place by but-ton or lever type connectors. To remove the wires, liftthe levers (or press down on the connector buttons)and pull the wires out.

8 Strip ½” of insulation from the ends of the new ther-mocouple wires. Be sure the wire ends are separatedwhere the insulation has been stripped. If bare endstouch, the thermocouple will not work properly.

9 Attach the wires tothe back of thecontroller. Onewire is yellow, theother red. Makesure the wiresconnect to the cor-rect terminals ,which are colorcoded. Reinstallthe controller tothe switch box.

10 Position the ther-mocouple wires sothey are away fromthe hot sides of the kiln case and other electricalwires. (Placing thermocouple wires next to or loopedaround other wires could cause erratic controllerreadings.)

11 Check that no wires touch the kiln case or elementconnectors. Wires touching element connectorsor kiln case will burn. Reinstall switch box.

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Press the buttons on the back of the boardto remove the thermocouple wires shownhere. Observe color coding.

Insert the new thermocouple into the kiln wall. Adjust to the proper length.Then tighten the ceramic block screws holding the thermocouple.

Replacing a Relay or Transformer1 UNPLUG kiln.

2 Remove thescrews on thesides of theswitch box thathold it to thekiln. Gently liftthe box awayfrom the kiln.

3 The transformerand relay arebolted to the in-side of theswitch box. Holdthe new partnext to the oneyou are replac-ing, aligned inthe same direc-t ion. Removeand transfer onewire at a timefrom the old partto the new one.Make sure eachconnection istight.

4 Replace push-onconnectors andwires damagedby heat. If wireconnectors donot fit snugly onterminals, gentlysqueeze the end of the termi-nal with pliers.

5 Remove the old part fromswitch box. Install the re-placement.

Note: If you are replacing thetransformer, examine the newone to make sure the primary is properly wired foryour kiln’s voltage. (See the kiln’s wiring diagram.)

6 Check to see that wires are not touching kiln case orthe element connectors. Wires touching elementconnectors or the kiln case will burn out. Moveswitch box into place and reinstall switch boxscrews.

Replacing theTemperature Controller

1 UNPLUG the kiln.

2 Remove the 4 corner screws holding the controllerfaceplate to the switch box. Carefully lift out face-plate.

3 Disconnect all thewires from theback of the board.You will find twoplugs and two sin-gle wires.

4 Connect the wiresto the new board.Reinstal l face-plate to the switchbox.

Replacing the Firing ChamberWhen the element burns out, the ceramic fiber firing

chamber must be re-placed.

To test for a burned outelement, you will need anohmmeter.

1 UNPLUG the kiln.

2 Remove the screwson the sides of theswitch box that holdit to the kiln. Gentlylift the box away from thekiln.

3 Place ohmmeter leadsagainst the element con-nectors . A no-nee-dle-movement readingon an analog meter, orOPEN on a digital meter,indicates a burned out el-ement.

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Replacing the firing chamber is a factory repair. Pleasecall 800-876-4328 or 972-288-7557 for instructions, or seethe dealer who sold you the kiln.

Ceramic Fiber RepairI f glass , ceramic

glaze, or other materialsdrip onto the firingchamber, repair beforethe next firing. Other-wise the glaze wil lremelt and embeddeeper into the fiber.

1 Unplug the kiln.

2 Cut or scrape theceramic fiber to re-move the contaminant. Remove as little fiber as pos-sible. If a heating element is located where you arescraping, avoid touching the element.

Replacing the Lid1 Remove the hinge screws from the lid band.

2 Lift off the lid. Place the new lid in position.

3 Drill new holes inthe lid band for thehinge.

4 Install screws.

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Glossarybisque Fired, unglazed clay.

cone, pyrometric A small pyramid of ce-ramic materials that will react to the effect oftime, temperature and atmospheric condi-tion inside the kiln in the same way as ce-ramic ware.

crazing Hairline cracks in glazed ware. Mostcommon cause is underfired bisque.

decal A design or picture printed in over-glaze or underglaze colors on a protectivecoating. The decal is slipped from the paperbacking onto the appropriate ware and firedfor permanency.

dry footing Removing glaze from the bottomof ware before firing to eliminate the need tostilt.

earthenware A natural clay, porous com-pared to stoneware and porcelain. Fires toaround cone 04. It will not hold liquids unlessit is glazed.

element A coil of wire that heats when elec-tricity passes through it.

enamel Liquid or powder containing finelyground glass. Usually applied to metal, suchas copper, and fired in a kiln.

glaze A liquid composed of glass particlesand applied to ceramic ware.

greenware Unfired clay objects.

grog Fired, crushed clay.

heat soak Maintaining the same tempera-ture inside a kiln.

hold time See “heat soak.”

kiln furniture The shelves and posts usedto position ware inside a kiln.

kiln wash A powder mixed with water andbrushed on top of shelves as protection fromdrops of fired glaze.

luster An iridescent overglaze, sometimesmetallic.

maturing point The stage where clay orglaze has received the correct amount of“heat work.” This is usually measured by the6 o’clock bend of a large pyrometric coneplaced on a kiln shelf beside the ware beingfired.

overglazes China paints, lusters, gold, etc.,usually used over a fired glaze but may also beapplied on polished porcelain bisque andfired for permanency.

plaster A white powder used for making ce-ramic molds.

porcelain A vitrified, translucent ceramicware. Fires to a higher temperature than anyother ceramic ware.

pyrometer An instrument for measuringtemperature.

ramp Changing the temperature with a con-troller. If the temperature change is drawn ingraph form, the resulting line looks like aramp.

relay An electromagnet that, when triggeredby current from the controller, turns on theheating elements.

segment A set of instructions for the con-troller in the Ramp-Hold mode. A segment

changes firing speed, temperature, and canadd hold time.

sgraffito Decorating ware by scratching thesurface layer of clay. This reveals a clay of adifferent color underneath.

silica A mineral that will not harden at a veryhigh firing temperature, used for separatingporcelain greenware during firing.

slip A liquid clay used in making ceramic ob-jects by casting.

stilts Small clay or metal-tipped supportsused to prevent glazed objects from stickingto the kiln shelf.

stoneware A vitreous ceramic body usuallymade from native clays. Fired to much highertemperatures than earthenware.

thermal shock Stress caused by suddenchanges in the temperature of ceramic ware.Can cause cracks or breaks.

thermocouple The measuring unit of a py-rometer that is inserted into the kiln’s firingchamber.

transformer An electrical device in thekiln’s switch box that changes the highervoltage from the wall outlet to 24 volts. Thelower voltage powers the kiln’s controller.

underglaze A decoration applied togreenware or bisque, usually applied underthe glaze.

venting Allowing air to come into the kilnand vapor and gases to escape. This is one ofthe most important steps in firing.

vitrify To change into a glassy or a non-po-rous state by heat and fusion.

Paragon KilnLimited Warranty

Paragon kilns are warranted to the original purchaser byParagon Industries, Inc. (herein “Paragon”), subject to thelisted exclusions below, to be free of defects in workmanshipfor the period specified below. The warranty period beginsfrom date of shipment from the Paragon factory unless dateof original purchase from an authorized Paragon distributoror dealer can be established.

Warranty Period:Home Artist series kilns rated to 2000°F: 1 year

This warranty period applies unless otherwise agreed toin writing.

This warranty excludes: 1) Kilns damaged by overfiring(exceeding the melting temperature of the material beingfired) regardless of cause of overfiring; 2) Ware, tools, kilnfurniture, or anything inside damaged by overfire; 3) Kilnsallowed to exceed the maximum temperature shown onkiln’s nameplate, regardless of cause; 4) Kilns subjected toabuse, neglect, freight damage or improper storage; 5) Kilnsused for either reduction or salt firing, 6) Kilns damaged byimproper electrical installation; 7) Kilns used for purposesother than firing ceramics, glass, heat treating, or the pur-pose for which it was intended; 8) Element burnout causedby contact with foreign materials; 9) The patented DawsonKiln Sitter and/or Limit Timer manufactured by W.P.Dawson, Inc., 399 Thor Place, Brea, California 92621.

WARRANTY COVERAGE EXTENDS ONLY TO THEORIGINAL PURCHASER AND DOES NOT COVER RE-PLACEMENT OF PARTS THAT ARE, BY THEIR NA-TURE, EXPENDABLE. THIS WARRANTY IS VOIDED IFTHE PRODUCT IS ADVERSELY AFFECTED BYATTACHING ANY FEATURE OR DEVICE TO IT, OR ISIN ANY WAY TAMPERED WITH OR MODIFIED WITH-

OUT EXPRESS WRITTEN PERMISSION FROM PARA-GON INDUSTRIES, INC.

Paragon Industries, Inc., will repair or replace any partsthat become defective under normal and proper use duringthe specified period for the kiln purchased, providing thekiln has not been subjected to misuse or the listed exclu-sions. Paragon will furnish and install replacement parts atthe factory with transportation costs to and from the factorypaid by the owner; or upon receipt of defective parts at thefactory, and after factory examination of the defect, Paragonwill furnish replacement parts, complete with installationinstructions, shipped postpaid to owner. The warranty onthe repaired and/or replaced parts will be limited to the un-expired term of the original warranty.

Any claim for adjustment under this warranty must in-clude name and address of dealer from whom kiln was origi-nally purchased. Repair or replacement of any defective partsshall fulfill all obligations of Paragon. No other obligations orliabilities are assumed in connection with Paragon kilns nordoes Paragon Industries, Inc. authorize its distributors ordealers to assume any other obligations or liabilities on itsbehalf.

THERE ARE NO OTHER WARRANTIES EXPRESSEDOR IMPLIED, INCLUDING BUT NOT LIMITED TOANY IMPLIED WARRANTIES OF MERCHANTABILITYOR FITNESS FOR A PARTICULAR PURPOSE. IN NOEVENT SHALL PARAGON INDUSTRIES, INC. BE LIA-BLE FOR ANY LOSS OF PROFITS OR ANY INDIRECTOR CONSEQUENTIAL DAMAGES ARISING OUT OFANY SUCH DEFECT IN MATERIAL OR WORKMAN-SHIP. NOTE: SOME STATES DO NOT ALLOW THEEXCLUSION OR LIMITATION OF INCIDENTAL ORCONSEQUENTIAL DAMAGES SO THE ABOVE LIMI-TATION OR EXCLUSION MAY NOT APPLY TO YOU.

This agreement is made in the State of Texas and its va-lidity, construction, and all rights under it will be governedby the laws of the State of Texas. This warranty gives youspecific legal rights, and you may also have other rights,which vary from state to state.

2011 South Town East Blvd.Mesquite,Texas 75149-1122972/288-7557 / Toll Free: 800-876-4328Fax: 972-222-0646 / Toll Free Fax: 888-222-6450paragonind@worldnet.att.net / www.paragonweb.com

“Clay becomes part of us. Welong to be with it when away fromthe studio. We spend hours in itscompany, and we fight with it.When we need the peace andcalm of clay, it is there waiting.When we need excitement, it isready to come out of the kiln.Clay entices us, because workingwith it works out so much of oureveryday life.”

Carol Jackaway