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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 33 Tried and True Glaze Recipes, 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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November 17, 2009
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.
May 20, 2009
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.
April 25, 2008
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.
March 24, 2008
This week, we will take a look at how Carcia uses terra sigillata, vegetation, oxides and salts to make her vividly colored work.
