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Since humans first began to understand how fire hardened clay, we have been making ceramics, both in pits and in wood kilns. Now, with so many fuel options available to the potter, wood-fired kilns are more of a choice than a necessity. While wood firing isn’t easy, the results are incomparable. The work in wood kilns reveals the story of the firing, with pieces showing ash deposits and the path of the flame through the kiln. But not all wood kilns are built alike. Some are made for flashing from the flame, some are made for melted rivulets of ash and others still are designed to bury the ware in ash and make it crusty and craggy. Regardless of your wood-firing aesthetic, the wood kiln plans and diagrams in this helpful guide will show you several ways to get started understanding and building wood kilns.
Here's an example of what you'll find inside Wood Kiln Firing Techniques & Tips: Plans and Instructions for Making a Wood-fired Kiln and Firing with Wood:
Wood Firing Basics
by Lowell Baker
Wood burns in two distinctly different stages. The first, and most obvious, is the burning of gasses produced when wood is heated. Wood begins to gasify at about 500°F. The second is the burning of the charcoal. This happens, for the most part, after the materials that form the gasses have been driven out of the wood. The coals in your ash pit serve to provide some heat to the kiln and to gasify the freshly stoked wood, mostly through radiant heat energy. As the gasses burn in a wood kiln, they typically produce very long flames. These flames can be easily over 30 feet long. Charcoal produces very hot, but very short, flames. The fl from charcoal is normally less than a few inches long.
All of these issues are relevant to building and firing any wood-burning kiln.One of the demonstrations I take my students through when we begin talking about kiln design is to bring an oxygen-acetylene torch into the classroom. If the torch is ignited with only acetylene (fuel), it produces a very long, very dirty flame.
One can quickly pass his or her hand through this fl without any real danger, but it will be covered with black soot. As oxygen is added, the fl shortens and becomes significantly hotter. As the flame shortens with the changing oxygen-fuel ratio, smaller flame tips appear in the center of the flame. This is the place where the flame is the hottest.
The more defined the tips are, the hotter the flame. You want this part of the flame in the firing chamber of a kiln, not in the firebox or the flue. If you have a small kiln and a fuel that develops a long flame, you need to either redesign your kiln to use the length of the flame, or simply shorten the flame to bring the hottest part of the fire back into the chamber where the pots are stacked.
As with the acetylene example, the easiest way to shorten the flame and make it hotter is to add oxygen. If you have electricity at the kiln site, adding a blower is one of the easiest and most controllable ways of adding oxygen. A small squirrel-cage fan that will deliver about 100 cubic feet of air per minute will supply all the air you will need to fire a small kiln. You can fabricate a bolt-on connector to attach the pipe to the blower, or duct tape a piece of automotive tail pipe to the blower.
You should realize that the end of the metal pipe will be subjected to a great deal of heat and will have to be replaced after a number of firings. Place the pipe in the ash pit of your firebox and adjust the air-input damper to the desired air flow. You will find that the flame around the blow pipe will be very intense. This system will allow you to fire your kiln with a much smaller firebox than would normally be needed in a natural-draft kiln.
The smaller firebox will require more frequent stoking, simply because it will not hold as much fuel as a larger box. Increasing the flue height would be the last choice in a small kiln. If you do this, you must be certain that you have air intake ports and a flue cross section large enough to allow easy circulation of hot gasses.
A damper will be essential for control. This will be less responsive than a forced-air system and will vary more due to atmospheric conditions, because it depends on lowered pressure to bring air into the kiln. So, more air shortens the flame and more air increases the temperature of the coal bed to help gasify your fuel more quickly.
Wood Kiln Firing Techniques and Tips: Plans and Instructions for Making a Wood-fired Kiln and Firing with Wood also includes:
Hai Kaburi: Creating Consistent Crusty Wood-Fire Results
by Lee Middleman
If you want crusty pots in a wood-fired kiln, you almost have to put them in or near the firebox, where they will be exposed to a lot of ash. This kiln design puts the firebox on top of the ware chamber, so the entire kiln load is exposed to ash as if it were in a firebox.
Glaze Recipes for Latex Resist Patterns in the Wood Kiln
by Courtney Martin
There are a lot of fun tools out there for potters to use to create patterns on their work. Latex resist is an excellent one because, unlike wax, it can be peeled off, so it is great for layering. Add atmospheric firing to the mix and it is even more exciting! Here, Courtney Martin shares her method for making glaze patterns with latex resist and some glaze recipes that work great in the wood kiln!
Electric Wood Ash
by Ryan Coppage, PhD
Wood firing clay results in beautiful surface treatments, however, not everyone has the time or energy (or kiln!) to devote to the wood-firing experience. Enter Ryan Coppage’s electric wood ash glazes, which mimic the subtle colors, patterns, and blushes of wood-fired glazes in an electric kiln!
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Ceramic Arts Daily is a free online website and newsletter written and produced for the benefit of potters and ceramic artists worldwide. The newsletter features both renowned and emerging artists, their work, techniques and artistic perspectives. Regular features include tips and techniques designed to help every artist expand their skill set and widen their artistic horizons. Ceramic Arts Daily also delivers video tips, in which potters and ceramic artists demonstrate various projects and processes. Think of them as e-workshops!
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