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Gas Kiln Firing

Gas kilns are the most popular type of fuel kilns used today. If you’re looking for a way to add a whole different dimension to your ceramic art then you’ll want to investigate gas kiln firing. With gas firing, you can control the atmosphere your work is exposed to, which directly affects the final outcome of your glazes and clay bodies. Here you’ll find expert advice from ceramic artists and potters who use gas kiln firing to add a unique dimension to their work. Whether you choose an updraft or downdraft kiln, your work is large or small, a gas firing kiln can be tailored to meet your needs and expand your possibilities. And if you are looking for glaze recipes to fire in your gas kiln, don't forget to download your free copy of A Guide to Ceramic Kilns: Choosing the Right Kiln Firing Method and Design For Your Art, a perfect resource for potters and ceramic artists who are ready to experiment with custom glazes, or for those who have grown tired of their own tried and true glazes.


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How to Fire A Gas Kiln Efficiently: Hal Frenzel Answers this Burning Question

Posted On October 14, 2013 20 Comments

Most anyone can figure out how to mix gas and air to produce heat in a kiln. What takes a little more expertise is firing a kiln with efficiency, regardless of what type of firing is being done. In today’s excerpt from Gas Kiln Designs and Firing, Hal Frenzel explains how understanding fuel combustion will help you make the most of your gas kiln.

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The New World of Crystalline Glazes: Developing Beautiful Crystals in Reduction

Posted On October 6, 2010 21 Comments

In today’s post, crystalline potter Diane Creber explains the basics of growing crystals and how crystalline glaze potters have been recently experimenting using reduction to enhance the pre-formed crystals in their glazes. Plus she shares a couple of great crystalline glaze recipes and a crystalline firing program for a digital controller.

Detail of Peter Karner plate (see below)

The Irresistible Surface: Layering Glazes and Trapping Carbon to Create Loosely Geometric Repeating Patterns

Posted On August 11, 2010 13 Comments

Peter Karner developed his surface decoration through years of trial and error and he continues to try new things so that his surfaces continue to evolve. In today’s post, Peter explains how intuition combined with experimentation helped him perfect his beautiful glaze surfaces. Plus he details how he uses wax resist and layers of five different glazes to develop his gorgeous glaze patterning.

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Aluminum Foil Saggars: An Easy Alternative to Traditional Clay Saggars

Posted On December 9, 2009 33 Comments

Today, in an excerpt from her new book Low Firing and Burnishing, Sumi Von Dassow explains how potter Edgeworth Barnes fires his pottery in aluminum foil saggars with great results.

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Landfill Gas and Alternative Fuels

Posted On December 7, 2009 0 Comments

Significant cost savings can be realized by potters without access to a landfill through a variety of strategies and fuel choices. These can be divided into categories and discussed in terms of benefits and difficulties. Solid fuels are difficult, liquid fuels are moderate, and gases are easier.

Click to see larger image

French Fried Pots

Posted On November 17, 2009 0 Comments

Initially, I placed a 30-gallon plastic barrel outside one such diner that had agreed to save the used oil for me. My plan was to swap out the barrel every five weeks (the owner predicted it would take that long to fill the barrel) and replace it with an empty 30-gallon barrel. I learned two facts immediately: First, I couldn’t lift the full barrel of oil onto the back of my pick-up truck. Secondly, used, hot oil will melt plastic barrels.

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Striving for Perfection: Energy Efficiency and Combustion

Posted On May 20, 2009 0 Comments

To achieve complete combustion, the exact proportions of fuel and oxygen are required with nothing remaining. In a gas kiln firing this is often difficult to attain because of the many variables in fuel and oxygen (which is derived from the air) and the equipment used to mix the two.

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Tip of the Week: Being Green in the Pottery Studio

Posted On April 25, 2008 1 Comment

In the May 2007 issue of ,
John Britt contributed an essay to the Comment column, which suggests
simple changes that potters can make in their studio habits to help
make their practice more Earth friendly. I am excerpting a couple of
highlights from his essay here.

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Building, Packing and Firing Saggars

Posted On March 24, 2008 4 Comments

This week, we will take a look at how Carcia uses terra sigillata, vegetation, oxides and salts to make her vividly colored work.