bill bosworth on fri 14 jun 96
I am trying to find a good plan for a salt kiln fired by gas. I will be
building the kiln around my shelves. They are 12" by 24" . I want to put
two deep. I'm thinking about a 4 foot box. If you have any ideas please
respond.
Thank you,
Heather Dixon
ThePottery@aol.com on sat 15 jun 96
Heather. I am Tracy Dotson potter near Penland I have been building kilns
for many years and enjoy helping people with their kilns. My address is
Tracy Dotson P O Box 14 Pneland N C 28765 Drop me a line I have some Past
Plans for your kiln shelf size. No charge! Take care Tracy
William Brouillard on mon 29 dec 97
Kiln design is always a problem. There is good information
available, but you have to do your reasearch. SOme of my
thoughts on the subject.
Kiln Design, (wood kiln question)
As with any kiln design there are many factors which
influence the design. Those factors make each situation
unique and produce kilns which may be well suited for one
set of circumstances and ill-suited for others.
Kiln design factors include some of the following:
Budget, the amount of money available to the project will
determine what is possible under each set of
circumstances. Hard work and the good will of neighbors
and friends will not overcome all of the problems
associated with the construction of a kiln.
Type of work, Determine your prresent and future needs:
What type of work do you do?. High or low temperature,
oxidation or reduction, wood, soda or salt work, once fire
or bisque and then glaze. How large are your (pots/other)?.
How long betwen start to end of a cycle would you like
time wise. Do you use a special type of glaze or surface
more often than others, copper reds, carbon traps, crystal
glazes, raku, e.t.c.?. to included the style, size, finish, and
working cycle of the artist or group. This combined with
budget is the most important consideration. In an remote
rural situation a wood kiln may be the best choice because
other fuel options are not available or too expensive to
bring in. Some potter fire with wood because it is a
convenient and abundant source of local fuel. Some potters
fire with wood and use a particular kind of kiln because it
is necessary for their work. The same is true of other
potters who use electric or gas firing.
Fuels, the availability, price, preparation and type of fuels
available. This should include a close look at local zoning,
civic, pollution and safety ordinances. To include gas line
sizes, meter capabilities, and installation of new utilities.
The type and form of the wood available, as well as the
cost of transport and preparation,(sizing for the firing),
would be very important.
Logistics, The lay of the land, wind direction, annual
rainfall, type of shed, availability of gas, water, and electric
utilities, access to the site by vehicles, type of shed, and
availability of help or additional labor for the loading firing
and packing.
Skills, The skills of the builder or construction crew,
availability of necessary tools and equipment. Can the
builder do gas or arc welding, basic carpentry, basic
masonry. Do you have the tools to do simple or complex
work in any of the above areas?. Is qualified help available
for reasonable cost?. If you Know the type of work that
you want to do and can find a working version of the type
of kiln that produces that kind of work , it would make
good sense to emulate that design. If the circumstances of
that design are unique, and they often are it may not
translate perfectly to your situation.
I would suggest that a study be made of several kilns of
that type and then an adaptation of the design
considerations that best fit your situation.
It has been my experience that even the most
sophisticated designs require an experienced potter to
work well. I recall a three chambered climbing kiln that no
one had used in a year because of poor maintenance. Some
of the flues between the inner chambers and the fireboxes
had not been cleaned out after the firings and the
accumulated ash had sintered and partially melted. The
mass of semi-melted ash had partially blocked some of the
flues and rendered the kiln difficult or impossible to fire to
high temperature. An hours work with hammer and chisel
fixed the problem and the kiln fired well.
I can think of another instance where a wood kiln
had been built with two fireboxes. One faces a strong
prevailing wind and the other was in the lee of the wind.
The natural supercharger on the windy face gave that side
a hotter firebox and it was a balancing act to keep the kiln
even. It was a case of poor orientation to the prevailing
wind or the wrong choice of design for that place.
Study, plan, build
--
william brouillard
1011 literary road
cleveland,oh.44113
ch151@cleveland.freenet.edu
kinoko@junction.net on tue 30 dec 97
Dear William, While we appreciate your detailed approach to kiln
building,we must disagree to some extent if only to eliminate the element
of fear and trembleing among neophytes. After several thousands of years
of kiln-building we have not appreciably improved kiln-efficiency much
beyond 12 to 17% in normal kilns. As always,much of the heat is
lost,either to the walls or goes up the chimney both to warm and pollute
the atmosphere. Kilns continue to be a "firebox with a chimney and a ware
box in the middle." As to fuel: Gerde Knapper in a conversation about
fuel-cost, replied to me: " When I begin worrying about fuel-cost it will
be time to quit." Perhaps the least expensive firing cost could be obtained
by building a kiln of local sandstone,next to a sawmill and using slab and
scrap for fuel and rebuilding the kiln when necessary.(See:Seagrove
Potteries and Monrovian coal-fired tiles. Waste-crankcase oil is also and
useful if it is first heated to a vapoure. Each change in
site,materials,fuel brings added social cost.
While 'science' may be necessary to increase mystification it
is hardly necessary for the Artist/Potter. One must assume that certain
skills are brought to the task of kiln-building,even by the neophyte and
that one,having several thousands of years to draw upon must learn along
the road to perfection. Sorry if the foregoing seems a bit sententious,but
it is written in a friendly spirit. Don M.At 11:11 12/29/97 EST, William
Brouillard wrote:
>----------------------------Original message----------------------------
>Kiln design is always a problem. There is good information
>available, but you have to do your reasearch. SOme of my
>thoughts on the subject.
>
>Kiln Design, (wood kiln question)
>
>
>
>As with any kiln design there are many factors which
>
>influence the design. Those factors make each situation
>
>unique and produce kilns which may be well suited for one
>
>set of circumstances and ill-suited for others.
>
>Kiln design factors include some of the following:
>
>
>
>Budget, the amount of money available to the project will
>
>determine what is possible under each set of
>
>circumstances. Hard work and the good will of neighbors
>
>and friends will not overcome all of the problems
>
>associated with the construction of a kiln.
>
>
>
>Type of work, Determine your prresent and future needs:
>
>What type of work do you do?. High or low temperature,
>
>oxidation or reduction, wood, soda or salt work, once fire
>
>or bisque and then glaze. How large are your (pots/other)?.
>
>How long betwen start to end of a cycle would you like
>
>time wise. Do you use a special type of glaze or surface
>
>more often than others, copper reds, carbon traps, crystal
>
>glazes, raku, e.t.c.?. to included the style, size, finish, and
>
>working cycle of the artist or group. This combined with
>
>budget is the most important consideration. In an remote
>
>rural situation a wood kiln may be the best choice because
>
>other fuel options are not available or too expensive to
>
>bring in. Some potter fire with wood because it is a
>
>convenient and abundant source of local fuel. Some potters
>
>fire with wood and use a particular kind of kiln because it
>
>is necessary for their work. The same is true of other
>
>potters who use electric or gas firing.
>
>
>
>Fuels, the availability, price, preparation and type of fuels
>
>available. This should include a close look at local zoning,
>
>civic, pollution and safety ordinances. To include gas line
>
>sizes, meter capabilities, and installation of new utilities.
>
>The type and form of the wood available, as well as the
>
>cost of transport and preparation,(sizing for the firing),
>
>would be very important.
>
>
>
>Logistics, The lay of the land, wind direction, annual
>
>rainfall, type of shed, availability of gas, water, and electric
>
>utilities, access to the site by vehicles, type of shed, and
>
>availability of help or additional labor for the loading firing
>
>and packing.
>
>
>
>Skills, The skills of the builder or construction crew,
>
>availability of necessary tools and equipment. Can the
>
>builder do gas or arc welding, basic carpentry, basic
>
>masonry. Do you have the tools to do simple or complex
>
>work in any of the above areas?. Is qualified help available
>
>for reasonable cost?. If you Know the type of work that
>
>you want to do and can find a working version of the type
>
>of kiln that produces that kind of work , it would make
>
>good sense to emulate that design. If the circumstances of
>
>that design are unique, and they often are it may not
>
>translate perfectly to your situation.
>
>I would suggest that a study be made of several kilns of
>
>that type and then an adaptation of the design
>
>considerations that best fit your situation.
>
> It has been my experience that even the most
>
>sophisticated designs require an experienced potter to
>
>work well. I recall a three chambered climbing kiln that no
>
>one had used in a year because of poor maintenance. Some
>
>of the flues between the inner chambers and the fireboxes
>
>had not been cleaned out after the firings and the
>
>accumulated ash had sintered and partially melted. The
>
>mass of semi-melted ash had partially blocked some of the
>
>flues and rendered the kiln difficult or impossible to fire to
>
>high temperature. An hours work with hammer and chisel
>
>fixed the problem and the kiln fired well.
>
> I can think of another instance where a wood kiln
>
>had been built with two fireboxes. One faces a strong
>
>prevailing wind and the other was in the lee of the wind.
>
>The natural supercharger on the windy face gave that side
>
>a hotter firebox and it was a balancing act to keep the kiln
>
>even. It was a case of poor orientation to the prevailing
>
>wind or the wrong choice of design for that place.
>
>
>Study, plan, build
>
>--
>william brouillard
>1011 literary road
>cleveland,oh.44113
>ch151@cleveland.freenet.edu
>
Ron Roy on wed 31 dec 97
It seems to me - the first step should be to decide what size shelves you
are going to use - or perhaps which combination of sizes. Pricing and
weighing standard sizes - with a mind to what size pots you are planning to
make - will help you make an economical and practical decision.
Ron Roy
93 Pegasus Trail
Scarborough,Canada
M1G 3N8
Evenings, call 416 439 2621
Fax, 416 438 7849
Studio: 416-752-7862.
Email ronroy@astral.magic.ca
Home page http://digitalfire.com/education/people/ronroy.htm
Theo Helmstadter on sun 4 oct 98
question: where can I find design illustrations and/or materials suggestions
for kiln building? I'm building a small catenary arch kiln, and need to do
a little research before I start.
Thanks!
Andrew Buck on mon 5 oct 98
Theo,
Jack Troy's Book, "Salt-Glazed Ceramics", has directions for building a
small, rammed clay, catenary arch type kiln. The directions are not cut
and dried instructions on size and materials, but there is a lot of really
good information for building very versatile, and inexpensive, kilns. I
recommend this informative and reasonably priced ($17.95 in 1977) book for
just the kind of project you are contemplating.
Andy Buck
Raincreek Pottery
Port Orchard, Washington, USA
On Sun, 4 Oct 1998, Theo Helmstadter wrote:
> ----------------------------Original message----------------------------
> question: where can I find design illustrations and/or materials suggestions
> for kiln building? I'm building a small catenary arch kiln, and need to do
> a little research before I start.
>
> Thanks!
>
Donn Buchfinck on mon 5 oct 98
to design a kiln is easy, it is deciding on what people to listen to is the
hard thing.
from what I learned in my past there are several things to consider
1. size of shelves
the kiln is built around it's shelves, they determine the interior shape of
the kiln
what are you going to use?? 2- 12x24 or something else??
2. what type of combustible are you going to use to heat your kiln.
propane is good, costs a little more than natural gas and you will probably
need a t least a 500 gallon tank
natural gas is great, but you will probably not have industrial pressure so
that leads to
3. what type of burners
ventury or forced air
both have their good points and their bad points
4. what do you want to do with this kiln
if you want to salt fire or do soda firing then it would be advisable to build
a hard brick kiln
there are some great materials to spray on soft bricks to resist the soda but
I like the way the pots look when they are fired in a hard brick kiln.
if you are going to want to just do up to cone 10 reduction then a soft brick
kiln is the best
5. what type of door do you want to put on the kiln.
stacking a softbrick kiln door is cheap but in the long run the bricks break
and grind down, ultimatly getting on your pots, I know I know, there are
people out there who have been stacking kiln doors with the same bricks they
have had for the past 20 years and they look bran new, well I'm a clutz, and
it never worked for me.
6. start crunching the numbers, find out how much your bricks will cost and
figure that you will need 9" walls that 2 burners plumbed will cost around
1200 dollars and you will probably need 4 burners. and do not forget that
pesky but expensive safty system.
7. get on the phone with Baily manufacturing and tell them what you are after,
and GEIL kilns out here in California. They both make great kilns that come
on a pallet and when the kiln god is not working you have someone to call,
their are alot of companys that build kilns that work great.
there are even a lot of books, books that contradict each other
find someone who has built a kiln and see if you like it.
listining to to many people is having too many chefs in the kitchen
it spoils the stew
have any more questions, or if you want me to help you more, I would do this
just write
thanks
Donn "the realy nice guy, but probably misinformed" Buchfinck
Don & Isao Morrill on tue 6 oct 98
At 10:43 10/5/98 EDT, you wrote:
>----------------------------Original message----------------------------
>Dear Donn, thanks for a fine post. Kiln building is not difficult once
one gets beyond the first kiln and over the hang-up about arches. our first
kiln is so far in the past I can barely recall that it was only a pile of
mud and straw . I do howeer, believe one should start young and start at
the beginning.We have built between 14 and 18 kilns>from 1cft to over
300cuft.Few were constructed of new materials. Most were made from old
furnace or 'stack' bricks.Many of odd shapes and in poor condition. What
horrid materials may have been released at cone 10,is questionable. We
lugged bricks in our old 'van,from Nova Scotia to British Columbia and have
probably left hundreds of bricks around the continent. Our last big kiln
(300cuft),as far as we know,is continuing to be used in New Brunswick.
Without a substanial grant from Canada Council,I doubt we could have
afforded the great beast.Beginning with little experience in the kiln trade
we believe each kiln was better than the previous kiln. Again I would urge
anyone to begin with a small kiln and aim for the stars(!). My first
boughten kiln held 4 mugs,was fired three times-a-day and each mug sold for
$6.00. In 1955 $72.00/day was not a poor wage for a beginning potter....or
anyone else for that matter. We have never attempted to become wealthy but
have had "The Good Life" for over 40 years. What more can one truly ask?
Thanks,again for your kiln post, Isao & Don
Laurie Friedlander on tue 6 oct 98
Ruthanne Tudball's book Soda Firing has design for small castable kiln that
was inspiration for one I just built tho' we wound up using hard brick and got
a little bigger- but anything you change I would use the Olsen kiln bible to
check out his ideas on the mathematics/physics of those changes. -Laurie, who
fired for years in electric and finally has a space to use FIRE.
the cat lady on mon 12 oct 98
At 08:54 AM 10/6/98 EDT, you wrote:
>----------------------------Original message----------------------------
>Ruthanne Tudball's book Soda Firing has design for small castable kiln that
>was inspiration for one I just built tho' we wound up using hard brick and got
>a little bigger- but anything you change I would use the Olsen kiln bible to
>check out his ideas on the mathematics/physics of those changes. -Laurie, who
>fired for years in electric and finally has a space to use FIRE.
>
I read the "bible" cover to cover prior to the Edmonton course given
by Fred back in May.
Upon arrival, he showed us a free-form drawing (kind of like a snail)
and told us that was what we were to build. To the shocked looks,
he calmly answered with words to the effect that he had been building
kilns for X decades (can't remember - 3? 4?) and that as long as
a kiln had a proper firebox and a good draw, *anything* would fire.
.....which we proved by building a 2 firebox, 4 chimney kiln from
conception to removal of (very) high fired work in 7 days.
Picture of completed kiln can be sent upon request.
Take care
sam - alias the cat lady
Melbourne, Ontario
SW Ontario CANADA
http://www.geocities.com/paris/3110
scuttell@odyssey.on.ca
"Thousands of years ago, cats were worshipped as gods.
Cats have never forgotten this."
Reid Harvey on fri 17 sep 99
Clayartists,
I am beginning to design a small kiln, to burn kerosene, and would like
a bit of advice from anyone who can suggest a good design for the
burners. I am anticipating an interior of 55.0 cms. cubed. Can someone
point me in the right direction?
Reid Harvey
Ceramiques d'Afrique
Abidjan, Cote d'Ivoire
http://www.geocities.com/Eureka/Boardroom/6123/CDA.html
Nancy Galland on wed 2 aug 00
I am looking for a kiln design for a kiln that can be fired with either
wood or gas, alternately; on the small side. Has anyone out there built one
or know where a design might be? Thanks - Nancy Galland
(ngalland@acadia.net)
Don Hunt on thu 1 feb 01
Actually what I was wondering about was whether there would be any merit
to a kiln that had both a updraft and a downdraft damper. I understand
the reasons a downdraft is considered superior, but was wondering if an
updraft design has any advantages. Is an updraft easier to control at
very low temperatures? Will an updraft draft properly with the door
open or cracked? That might be a consideration if used for bisque.
Just Wondering
Don Hunt
Donald Goldsobel on fri 2 feb 01
Don,
I have an updraft,downdraft setup and it works really well. I bisque updraft
and for glaze firings, I finish the firing with the upper damper slightly
open and it helps to even up the top and bottomtemperatute and reducion too.
My kiln is similar in setup to a Geil and these tend to have a hot spot in
the very center. This problem is alleviated with the upper damper.
Good Luck,
Donald
----- Original Message -----
From: "Don Hunt"
To:
Sent: Thursday, February 01, 2001 5:38 PM
Subject: kiln design
> Actually what I was wondering about was whether there would be any merit
> to a kiln that had both a updraft and a downdraft damper. I understand
> the reasons a downdraft is considered superior, but was wondering if an
> updraft design has any advantages. Is an updraft easier to control at
> very low temperatures? Will an updraft draft properly with the door
> open or cracked? That might be a consideration if used for bisque.
>
> Just Wondering
>
> Don Hunt
>
>
____________________________________________________________________________
__
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
Hank Murrow on sun 4 feb 01
Don Hunt was just wondering;
>Actually what I was wondering about was whether there would be any merit
>to a kiln that had both a updraft and a downdraft damper. I understand
>the reasons a downdraft is considered superior, but was wondering if an
>updraft design has any advantages. Is an updraft easier to control at
>very low temperatures? Will an updraft draft properly with the door
>open or cracked? That might be a consideration if used for bisque.
And Hank replies;
Dear Don;
I built a testbed fiber kiln which fired both up and down draft. What I
found was that the kiln required about 30% more fuel in the updraft mode
but otherwise the pots came out the same. Since the kiln fired to C/10 for
$14, it was not cost effective to provide a chimney for downdraft
operation, as it would have required years to pay it off. Penland uses one
of the updraft lifting models to good effect, and Josh Gold mentioned it in
his article on Shinos in Ceramic Technical, recent issue.
I have about 200 fires on the one I've been using in the studio. Great
shinos, and great C/10 oxidation as well. Copper yellows, for instance.
Regards, Hank in Eugene
vince pitelka on mon 5 feb 01
> a proper chamber kiln has both updraft and downdraft charachteristics
> ,while one chamber is firing (downdraft)the next chamber in line is being
> used as the flue(updraft )and so on up the line until the dragon (the
> green flame)escapes the last chamber and returns to the sky
Dayton -
If you are referring to the noborigama then this isn't really correct. It
is true that the subsequent chambers provide draft, but they are not updraft
by any stretch of the term. There is a net gain in elevation with each
chamber, providing the overall convection currents, but each chamber is a
downdraft chamber.
Best wishes -
- Vince
Vince Pitelka
Appalachian Center for Crafts
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
Home - vpitelka@dtccom.net
615/597-5376
Work - wpitelka@tntech.edu
615/597-6801 ext. 111, fax 615/597-6803
http://www.craftcenter.tntech.edu/
dayton j grant on mon 5 feb 01
a proper chamber kiln has both updraft and downdraft charachteristics
,while one chamber is firing (downdraft)the next chamber in line is being
used as the flue(updraft )and so on up the line until the dragon (the
green flame)escapes the last chamber and returns to the sky
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