Paragon Home Artist-120 User manual

Paragon
Home Artist Kiln
Instruction &
Service Manual

2/
Introduction
Thank 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 it
is among the few surviving artifacts from ancient civilizations. With your new kiln, you can make art pieces
that will last for many generations.
Please read this manual before firing the kiln. The manual will help you gain the most enjoyment
from 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 firing
instructions 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, check
the carton for damage (crushed, holes, etc.). Check
the kiln for both interior and exterior damage. If the
kiln is damaged, you can refuse the shipment and have
it returned, or accept the shipment after having the
driver note the damage on the Bill of Lading. Then
call Paragon at 800-876-4328 or 972-288-7557 (open
Monday 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 on
the 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 the
shipper 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 generated
within the kiln. The ceramic fiber firing chamber actually expands and con-
tracts with each firing. Do not be concerned if small cracks appear in the
fiber. This is normal. These are surface cracks that close tightly when
heated.
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 the
relay 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 it
when 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 when
kids are working with clay? I teach 3rd, 4th
and 5th graders in a very poor neighbor-
hood, and even the toughest 5th grader will
let down his ‘cool and tough’ act for clay.”
—Grace Sheese
Cracks in the firing chamber are normal.
Please do not be alarmed by them.

Safety
Overfiring
The warranty on your Paragon kiln does
not cover damage from overfiring,
regardless of the circumstances. It is the
operator’s responsibility to make sure the
kiln turns off at the proper time.
The Ceramic Fiber
Avoid touching the firing chamber surface
with sharp or pointed objects. They can
damage the fiber surface. Touching the
embedded heating element with sharp or
pointed objects is a shock hazard.
Read the Manual!
Read each page of this manual in detail
before operating your kiln. Warranty does
not cover damage caused by failure to
follow instructions.
Food or Drink Surfaces
Some decorative materials may be unsafe
and toxic when used for surfaces that will
be in contact with food or drink. When you
make food or drink containers, select a
glaze or glass that has been formulated,
tested and labeled as approved for
surfaces that will be in contact with food or
drink. Follow the glaze or glass
manufacturer’s instructions exactly,
without any variations.
The Orton Firing Institute We encourage
you to become a member of the Orton Firing In-
stitute, where you will receive expert advice on
making and firing clay. Call 614-895-2663 to
join. Gain access to a wealth of experience for
only a nominal annual membership fee.
/3
Contents
Setting Up the Kiln . . . . . . . . . . . . . . . . 5
Electrical Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Where to Locate Your Kiln . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Transporting the Kiln. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Kiln Parts . . . . . . . . . . . . . . . . . . . . . . . . 6
Firing Preparation & Loading . . . . . . . . 7
Shelves, Posts, Tile Setters & Stilts . . . . . . . . . . . . . . . . . . . . . . . . 7
Kiln Wash and Glass Separator . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Vacuum the Kiln Regularly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Check the Thermocouple . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
The Basics of Kiln Loading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
The Basics of Firing the Kiln. . . . . . . . 10
Venting the Lid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Protecting the Heating Element . . . . . . . . . . . . . . . . . . . . . . . . . . 10
The Basics of Firing Clay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Removing the Ware from the Kiln. . . . . . . . . . . . . . . . . . . . . . . . . 11
Firing Log Book. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Preventing Overfires . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Color Temperature Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Power Failures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Your First Firing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Firing Clay . . . . . . . . . . . . . . . . . . . . . . 12
Pyrometric Cones . . . . . . . . . . . . . . . . . . . . . . . 12
Low-Fire Greenware. . . . . . . . . . . . . . . . . . . . . . 13
Drying the Clay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Loading and Firing Low-Fire Greenware . . . . . . . . . . . . . . . . . . . 14
Greenware and Glazed Ware in the Same Firing. . . . . . . . . . . . . 14
Low-Fire Glaze . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Overglaze . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Decals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Glass Fusing & Slumping . . . . . . . . . . 17
How to Cut Glass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Fusing Compatibility of Glass. . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
The Annealing Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Cleaning and Gluing the Glass. . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Loading the Kiln . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Firing the Glass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Imperfection . . . . . . . . . . . . . . . . . . . . 19
Bisque . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Glaze . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Underglaze . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Overglaze . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Glass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Maintenance . . . . . . . . . . . . . . . . . . . . 20
Trouble-Shooter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Replacing the Thermocouple . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Replacing a Relay or Transformer . . . . . . . . . . . . . . . . . . . . . . . . 22
Replacing the Temperature Controller . . . . . . . . . . . . . . . . . . . . . 22
Replacing the Firing Chamber . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Ceramic Fiber Repair . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Replacing the Lid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Glossary . . . . . . . . . . . . . . . . . . . . . . . . 23
Paragon Kiln Limited Warranty. . . . . . 24

Important Safety Rules
An 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 Pointers
Never leave the kiln unattended during firing. Check the
kiln from time to time. Observe the normal sounds that it
makes, and length of firing time. Observe the color of light
around the edge of the lid.
Once you are familiar with the normal operation of your
kiln, you will know when something goes wrong. If the kiln
fails to shut off and becomes too hot, you will know by the
length of firing time and by the color of light around the lid.
Observing your kiln’s normal
operation is one of the most
important safety precautions.
Keep the lid closed when
the kiln is not in use. This
keeps dust out of the kiln.
Also, should someone turn on
the kiln while you are away, the closed lid will keep the heat
safely inside the firing chamber.
Never place anything on the kiln’s lid, even when the kiln
is idle. If people become accustomed to placing papers and
other objects on the kiln, they may forget and do that while
the kiln is firing. During operation, the lid may get hot
enough to burn combustible materials placed on top of it.
Remove all tripping hazards from around the kiln. Keep
the kiln’s supply
cord out of traffic
areas. Do not let
the cord touch the
side of the kiln,
which may damage
the cord. Avoid ex-
tension cords if
possible.
Do not remove
the ware from the
kiln until the kiln
has cooled to room
temperature. It is
possible for thermal shock to break hot ceramic pieces. The
sharp edges of broken ware can injure hands.
After firing glazed ware in your kiln, examine the shelves
for glaze particles. Sharp slivers of glaze stuck to the shelf
can cut hands. Before rubbing a hand over a shelf, be sure
the 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 temperature
can 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 greenware
against the inside of your wrist. If
it feels cool, it is too wet to fire.
Do not fire cracked shelves.
They can break during firing,
damaging the ware inside the
kiln. Store kiln shelves in a dry
area. Moist shelves can explode
inside a kiln.
If you smell burning plastic,
turn the kiln off. Examine the wall
outlet and supply cord for signs of
burning.
Never place extra insulation around the kiln in an attempt
to conserve energy. The
extra insulation can cause
the wiring and the steel
case to over-heat.
Keep loose-fitting
clothing away from the hot
kiln.
4/
Place the kiln no closer than 12”or more from
the nearest wall. Do not let the power cord
touch the hot sides of the kiln.
Do not fire the kiln if the wall
outlet 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 my
life with her.”
Darcy Giesseman

Setting Up the Kiln
Electrical Installation
You must plug your kiln into a
circuit that no other appliance uses
while the kiln is firing. Turn off the
circuit breaker or unscrew the fuse
for the circuit that your kiln will be
plugged into. Check to see if other
appliances shut off too. If that cir-
cuit powers appliances that must
remain on while the kiln is firing,
plug your kiln into a different cir-
cuit.
Caution: 120 volt kilns: avoid extension cords if
possible. If you must use one, never use one smaller
than 12 gauge and longer than 20 feet. Never plug it
into a ceiling outlet!
Voltage fluctuation can vary firing time from as little as
half to more than twice the average time. If the voltage is too
low, the kiln may never reach full temperature.
The receptacle must have a separate safety grounding
wire. This protects you from serious electrical shock.
Where to Locate Your Kiln
1Place your kiln in a well ventilated, covered and pro-
tected area, such as a garage or basement. If the
fumes can reach a living area, install a vent hood over
the kiln that ducts to the outside, or find a different
location.
2Remove the lawn mower, gasoline, paint, and other
flammable materials from the kiln room. If you fire
the kiln in a garage, park your car outside.
3Provide a minimum of 12 inches’ clearance between
kiln and the closest wall.
4Never allow the temperature of your firing room to
exceed 100 - 110° F. Measure the temperature about
3 feet from the kiln. If necessary, use fans to lower
room temperature. Do not fire the kiln in a small, en-
closed space such as a closet.
5Keep the kiln away from curtains and other combus-
tible materials.
6Keep the space above the kiln clear of hanging plant-
ers and overhead shelves.
7Position kiln on a level, fire-proof surface, such as a
concrete floor. If you place the kiln on a concrete floor
finished with linoleum tile, place a fireproof material
over the tile to protect it from discoloration.
8Keep unsupervised children away.
9Keep the power supply cord away from the kiln case.
There is little danger of serious burn from accidental
contact if you exercise the same caution you would use with
an electric iron.
Transporting the Kiln
Some people take their kilns to seminars or on vacation.
The easiest way to transport the kiln is to use the original
packing materials.
If you no longer have the packing materials, transport the
kiln in an upright position with the lid closed. Place a thin
sheet of foam cushioning between the lid and the firing
chamber to prevent rubbing. Avoid subjecting the kiln to ex-
cessive vibration during travel.
/5
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, I
knew in my heart that I needed to be work-
ing with clay. It’s something that reaches
back into my childhood.”
Sheron Roberts
“Centering clay has a way of putting me into
that altered state where time doesn’t hap-
pen.”
Millie Carpenter

6/
Switch Box
The electrical compo-
nents are housed in the
switch box.
Collapsible Handle
Pull the handle up to
move the kiln. Lower the
handle before firing the
kiln.
Digital Controller
Regulate firing speed and
temperature with digital
accuracy. See the sepa-
rate controller manual.
Lid Latch
The latch is a reminder to
keep the lid closed until the
kiln has cooled to room
temperature.
Embedded Heating Element
The heating element can burn out on
contact with ceramic glaze, kiln
wash, glass, and contaminants con-
taining silica and silica bearing com-
pounds.
Thermocouple
The thermocouple senses
temperature in the firing
chamber. When loading
the kiln, be careful not to
hit or dislodge the thermo-
couple.
Case Vents
The vent slots move air
through a channel be-
tween the firing chamber
and outside case. This
lowers the kiln’s outer sur-
face temperature.
On/Off Switch
Turn the switch off
and and unplug the
kiln when not in use.
Switch Box Fuse
The fuse protects
the controller.
Check the fuse if the
display is blank.
Ceramic Fiber
Firing Chamber
Ceramic fiber is a space-age, effi-
cient insulation. Be careful to pre-
vent glaze and other contaminants
from contacting the fiber shell.
Ceramic Fiber Lid
Do not place anything on
top of the lid, even when the
kiln is not in use.
Lid Prop
Prop the lid to vent
fumes during the
early stage of firing.
Kiln Parts
“Working in my small studio keeps me sane and
happy. I forget about everything else and am grate-
ful to do what I do.”
Heidrun Schmid

Firing Preparation
& Loading
Shelves, Posts, Tile Setters & Stilts
These accessories can be purchased from Paragon
through an authorized dealer.
Kiln Shelves
Shelves are flat slabs of fireclay that can withstand high
temperatures. Place a shelf on the kiln bottom for all firings
to protect the fiber bottom. By using multiple shelves, you
can stack more ware
in your kiln than you
could ever place on
the bottom of the
kiln alone. Like any
other pottery, they
will break if dropped.
Kiln Posts
Posts are made
from the same mate-
rial as shelves. Posts
support and separate
the layers of shelves
in a kiln. The shorter
the post, the greater the stability. Posts can be stacked upon
one another to achieve a greater height, but a single long post
is more stable. Use 3 posts to separate shelves. Three posts
are more stable than 4.
Stilts
At high temperatures, glaze becomes molten and sticks
permanently to
anything it
touches, such as
the kiln shelf.
Stilts prevent this.
A stilt is a ceramic
base embedded
with high temper-
ature wire. The
stilt suspends
glazed ware on the
wire points to sep-
arate the piece from the kiln
shelf. Stilts also allow air to
circulate around large, flat
pieces.
Stilts can be used in fir-
ings up to 2000°F. They can-
not be used to fire porcelain
and stoneware, which fire to
cone 6 - 10. At those temper-
atures, the wire points
would embed into the clay.
Stilts, however, can be used
to 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 or
emery cloth. The oxidation of the wire can discolor the glaze
at the stilt mark. Cleaning the wire points with a stilt stone
solves that problem.
Stilts come in a wide variety of shapes and sizes. The
3-point triangular
stilts support bowls,
plates, and cups. Bar
stilts support longer
pieces. Load orna-
ments and eggs on stilt
posts.
Be careful when you
remove the stilt after
firing. The stilt points
leave a sharp edge in
/7
You can stack posts, but a single post is
more stable.
The stilt helps circulate air under this plate.
Straightening a stilt point.
Removing stilt marks with a stilt
stone.
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 and
pieces with a large hollow base.

the glaze. Handle the ware carefully to avoid injury. Remove
the sharp stilt marks with a stilt stone.
Tile and Plate Setters
These 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. The
setters 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 placed
directly onto a kiln shelf.
Bead Rods
Bead rods are used to fire glazed ceramic beads. The rods
are made from nichrome wire, which can withstand high
temperatures. The beads must not be glazed inside the hole
and around the edge of the hole. String the beads onto the
bead rods. The beads must not touch. Suspend the bead
rods between two posts.
Kiln Wash and Glass Separator
Kiln wash and glass separator are mixtures of finely
ground minerals that do not fuse at high temperatures. They
act as a barrier against glaze and glass. The kiln shelf must
be coated with kiln wash or glass separator to keep ceramic
glaze and glass from sticking to it. Without a barrier, the
glaze 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 many
firings. When the shelf coating begins to crack or chip, apply
a fresh coat. When
recoating a shelf, remove
most of the old coating
with grit cloth (available
from Paragon). This is
an abrasive-coated mesh
that allows residue to
pass through. You could
also use coarse sand pa-
per. Removing the old
coating gives you a
smooth surface to start
with. Wear a respirator
when removing separator. Then recoat the shelf using the
following directions.
Caution: Do not apply separator to the ceramic fi-
ber firing chamber walls, lid, or bottom. Contact
with separator will destroy the heating element,
which is embedded in the walls.
1Mix the separator
with water follow-
ing the directions
on the bag. Stir.
2Use a haik brush or
a soft paint brush
to apply the sepa-
rator to the shelf.
(The haik brush is
easier to use be-
cause it lays down a
more even coat-
ing.) Each time you dip your brush into the separa-
tor mixture, swirl the brush around the bottom of
the container. This is because the separator settles
quickly. Start the brush stroke near the center of the
shelf and work toward the edges. This is to avoid a
buildup of separator on the edges.
3Use two or three thin coats changing the direction
of the brush stroke 90° with each coat. Let the sepa-
rator dry for a few minutes between coats. Do not
apply thick coats; they tend to flake off.
4Dry the shelf completely before firing.
Note: Remove any buildup of separator from the
edges of the shelf by tracing around it with a finger.
Excess separator may break off the edges and fall
onto ware positioned below the shelf.
Note: Place pyrometric cones (pages 12 - 13) only on
separator-coated shelves. But do not apply separator
onto pyrometric cones. It changes the maturing
temperature of the cone.
If glaze or glass sticks to the shelf, scrape it off with a putty
knife at a sharp angle. Wear safety glasses—sometimes
chipped glaze becomes airborne. Then recoat the bare spot
with more separator.
8/
The tile setter saves space inside
the kiln.
Fire glazed beads on a bead rod suspended between two posts.
Use grit cloth to remove most of the old
separator. Then apply a fresh coat.
Applying separator to the shelf.

Vacuum the
Kiln Regularly
Keep the firing
chamber clean. Dust
falling on molten glaze
leaves pinholes and
other imperfections.
Vacuum the kiln with
the soft brush nozzle of
a vacuum cleaner.
Clean the inside lid
surface, 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 Thermocouple
You will find a rod, called the thermocouple, extending
into the firing cham-
ber. The digital con-
troller senses tem-
perature by reading a
small voltage from
the thermocouple. If
the tip of this rod is
pushed out of the fir-
ing chamber, the
kiln will assume that
the firing chamber is
cold. This will result
in an overfire, which
can damage your
kiln. When loading
the kiln, check that
the rod extends into
the firing chamber
by 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”-1½”away from
the thermocouple.
The Basics of Kiln Loading
1Always place a shelf in the bottom of the kiln for every
firing. This protects
the ceramic fiber
bottom. The shelf
should be coated with
kiln wash.
Caution: Never fire
glass or glazed ware
directly on the kiln’s
ceramic fiber bot-
tom. Always fire
these items on a
shelf.
2To make full use of
your kiln’s firing ca-
pacity, group similar
sizes of ware to-
gether inside the
kiln.
3Place taller pieces on
the top shelf.
4Keep ware at least 1”
away from the heat-
ing element. If the tip
of a large piece of
ware comes closer
than 1” to the kiln
wall, position that section of ware between rows of el-
ement.
5For stability, stack posts so that they are directly in
line with each other vertically.
6Minimum spacing between shelves is 2 ½”.
7Stack shelves so there is at least one row of element
between any two shelves.
8Posts used with each shelf layer should be at least 1”
taller than the ware.
9Keep ware and kiln
shelves 1”-1½”away
from the thermocouple.
10 If possible, load the top
shelf to a height where
one element row is be-
tween the top shelf and
the top of the kiln.
11 When loading ware and
shelves, do not dislodge
the thermocouple.
12 Do not move the kiln or bump into it after you have
loaded it. This could topple the ware inside.
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Vacuum the kiln with the brush attachment
of a vacuum cleaner.
Group similar sizes of ware together.
Place taller pieces on the top shelf. Line
up posts vertically.
Have at least one row of element
showing above the top shelf, if
possible.
The thermocouple measures temperature in-
side the kiln. Keep shelves and ware at least
1” away from the thermocouple.
Posts in each layer should be at least 1” taller than
the ware. Minimum spacing between shelves is 2
½” as shown above.

The Basics of
Firing the Kiln
Venting the Lid
Your Home Artist kiln is equipped with a lid prop. During
the first stage of firing, raising the lid with the prop allows
gases and water vapor produced by the ware to escape.
Note: If you do not prop the lid when firing items
that release moisture, the vapor will be pushed out of
the firing chamber wherever it can escape, resulting
in rust to the steel case and switch box.
For lusters and
overglazes, you may
need additional vent-
ing. In this case, you
can raise the lid an ex-
tra inch with a short
ceramic post.
Do not prop the lid
to rush the cooling of
the ware. This can
damage the ware.
Never open the lid un-
til the kiln has cooled
to room temperature.
Protecting the Heating Element
Contact with silica or silica bearing compounds, such as
kiln wash, glass separator, alumina hydrate, glass, enameling
powder, and ceramic glaze, will ruin the heating element.
Never fire glazed ceramic ware or glass directly on the firing
chamber bottom. Use a ceramic shelf to protect the bottom from
glaze drips, glass and enameling powder.
Caution: Your kiln’s heating element is embedded
in the walls of the firing chamber. Materials such as
glass and glaze, if absorbed into the fiber walls, can
ruin 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 onto
the firing chamber. These materials can destroy the
element.
Note: If a contaminant such as dripping glass or
glaze embeds into the firing chamber, unplug the
kiln. Allow to cool to
room temperature.
Gently scrape off
the contaminant
with a knife, being
careful not to dam-
age the heating ele-
ment. Vacuum the
kiln.
■Be sure to vent
glazed ware by
propping the lid
during the first
stage of firing.
Glaze fumes can eventually crystallize on the firing
chamber and element if the kiln is not vented.
■If you pour slip to make greenware, keep the kiln away
from the pouring area. Do not allow anyone with a glaze
brush 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 is
possible for glaze to bubble and splash onto the kiln dur-
ing firing.
■If you smooth out glaze imperfections before loading the
ware into the kiln, do it away from the kiln. The airborne
glaze powder can contaminate the element.
The Basics of Firing Clay
Do not fire plaster, plaster of paris, or polymer clay in the
kiln. Do not fire anything that requires a temperature higher
than 2000°F, such as stoneware and porcelain. You will prob-
ably fire mostly slip-cast earthenware clay and porcelain
china blanks.
Clay is fired twice. The first firing is the greenware, or
bisque, firing. The second is the glaze firing. The greenware
firing hardens the raw clay so that it can accept glaze. If
greenware were glazed, the moisture in the glaze would
weaken the unfired clay.
Note: Greenware is unfired clay. Bisque is fired clay
that has not yet been glazed.
Burning Off the Carbons
Slip-cast clay is made by
pouring clay into a mold, then
after a short period, pouring
most of the clay back out of the
mold. Slip-cast ware, as a re-
sult, is hollow inside. Most
slip-cast clay can be fired rap-
idly.
The larger and thicker the
ware, the slower it must be
fired. If you are in doubt about
how fast to fire, then use your
digital controller’s slow rate. Clay contains carbon and gases
that must be released during firing. Venting the lid and firing
10 /
Slip-cast ware is hollow. If the
clay is solid and very thick, it will
break in the kiln.
Removing spattered glaze from the ce-
ramic fiber wall with a knife. Caution: un-
plug kiln. Avoid disturbing the element.