Production Process » Loading the Kiln
The part of the kiln that holds
the ware sits on a steel frame with heavy-duty wheels that rides along a track so it can be moved in and out of the kiln for ease of loading. This kiln was originally used by another potter who moved from the area and sold it to me.
It was taken apart, transported and reconstructed with numerous design improvements.
Shelves are stacked on the cart in two staggered columns (to allow for even heat distribution throughout the levels), with care taken to fill as much of the space as possible by including a wide range of forms.
To the right are
Lotus Flower Bowls being loaded into the middle section of the kiln, which tends to absorb the most heat from the burners. A glossy, flowing
glaze which is especially fluid at top temperature is sprayed along
the inside rim over the engraved design. As the glaze melts, it collects in the incisions and drips toward the center of the bowls in a flower-like pattern,
giving the bowls their unique look.
The bowls and mugs with the dark brown glaze on the bottom and the light bluish tops are examples of the Amber Blue Glaze, which is based on local clay dug a few hundred feet away. Practically everthing that goes into this system was either recycled or obtained directly in nature, resulting in a cost effective firing operation that continues steadfastly during even the most challenging economic times. The concept of producing utilitarian wares from locally-obtained materials was a motivating force in the founding of this business, and the degree of resourcefulness and improvisation learned in the process tends to pervade all aspects of life.
It usually takes several hours to get the kiln fully loaded due to all the details that need to be considered along the way. Each item seems to come out best in a particular spot of the kiln and the process of planning how to load this kiln actually begins while the pots are thrown on the wheel. About 35 times per year it finally gets to the point where everything looks ready and the load is pushed into the kiln and bolted shut. Notes are often made and pictures taken to record information about glaze tests as well as the specifics of how the kiln was loaded and a log is also kept to record details of the firing process. All of this information is used throughout the continual development process and often plays a vital part in the trouble shooting process when problems arise.
To the left is the result of a firing done in March 2009 to 2350 F, one of the most consistent to date.
It was also one of the longest as it was deliberately extended to last 17 hours, twelve of which were spent in the final 500 degrees. My current shedule developed over the course of about 200 firings in this kiln
and is the result of extensive research and experimentation. Longer firings tend to result in a higher degree of consistency in the glaze surfaces as well as a greater depth of color, and i would recommend a similar firing schedule to
other potters trying to improve the results of their firings.
Next step: Firing the Kiln >>
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