Paragon Ceramic Kiln Service Manual

Paragon Ceramic Kiln

Instruction & Service Manual

You are about to enter the
magical world of custom-fired
ceramics. To safely find your
way around and to master your
kiln, read this manual. Save for
future reference.

The First
Firing—
Seepage29

INTRODUCTION

Thank you for purchasing a Paragon kiln. We are confident that the kiln will give you many years of relaxation and
creative enjoyment. Before using yourkiln,readthe manuals that came withit. They will save you manyhours as you
learn about your kiln. The more you know about your kiln, the more you will enjoy it and the longer it will last.

This manual does not cover the digital controller or the Kiln Sitter and switches. They are
covered in a separate manual included in your instruction packet.

In the instruction packet for your kiln, you should find a copy of “Safe Installation of the Electric Kiln,” “Firebrick
Maintenance,” and a manual that covers your kiln’s control system. Please contact the factory if you do not have
copies. You can also find them at www.paragonweb.com. Select “Support” and then “Instruction Manuals” from
the drop menu. The manuals are listed alphabetically.

At www.paragonweb.com select “Products,” then “Books & DVDs” from the drop menu. The books we recom
mend will enhance your kiln experience. You can also email or phone us with questions. We are glad to help.

At www.paragonweb.com you will find online videos for many of the procedures shown in this manual. As you read
each section, you can go online to watch an actual demonstration on your computer.

Even though your Paragon kiln may be designed to shut off automatically, check the kiln
before the expected shut-off time. The warranty on your kiln does not cover damage from
overfiring, regardless of the circumstances. It is the operator’s responsibility to make sure the
kiln turns off when the firing is completed. Never leave your kiln unattended near the end of
the firing.

Check your new kiln frequently during the first few firings and note the color change
inside the kiln. After awhile you can learn to estimate, with considerable accuracy, when
the kiln is about to shut off just by observing the color.

We are accustomed to using products that stay new looking for years—cars, furniture,
cameras. But kilns are different. The high temperatures theyreach generate tremendous
stresses. Since the insulating firebricks expand and contract with each firing, hairline
cracks will appear in the bricks while the kiln is cold—even in a new kiln. Do not be con­cerned with these. They are normal. The cracks close tightly when the heated bricks
expand. The cracks function as expansion jointsand will not affect the firing. Though the
insulating firebrick is fragile enough to carve with a fingernail, it is a miracle of physics
and when properly maintained can survive for many years.

Do not beconcerned withthe light thatappears around the edge ofthe lid ordoor. As long as thelid/door is closedall
the way, there is little heat loss. Discolored paint is also inevitable and doesn’t affect firing results.

Please do not be concerned
with theline of lightthat appears
around the lid. It is normal.

-

Do not be concerned with the clicking sound that the kiln makes during operation. Digital kilns contain relays,
which send powerto the elements. Therelays click as theycycle on and off to maintainthe correct temperature.And
the infinite switches of manual kilns make a clicking noise too. You will also hear the
elements hum. This is only the sound of element coils vibratingin theirbrick grooves.
Once you become familiar with these sounds, you may find them a reassuring indica
tion that the kiln is firing normally.

If you call us about your kiln, please have the model number, part number (P/N), and
voltagefromthekiln’selectricaldataplatehandy.(Theplateisonthesideofthe
switch box.) Write that information here for quick reference:

P/N____________________ SN______________ Model______________ Volts____________

Thank you again for purchasing a Paragon kiln. We wish you many years of relaxation and creative enjoyment with
your new purchase! You will find that owning a kiln will give you the freedom to experiment with new ideas and to
fire any time you want. Owning a kiln will take your ceramic skills to a new and exciting level.

2 Monitor the kiln during operation!

©2008, by Paragon Industries, L.P. IM-104/11-08

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CONTENTS

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . 2

Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Important Safety Rules . . . . . . . . . . . . . . . . 4

Setting Up. . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Setting Up The Stand . . . . . . . . . . . . . . . . . . . . . 6

Attach the Lock-In Lid Support. . . . . . . . . . . . . . 6

Where to Locate Your Kiln . . . . . . . . . . . . . . . . . 6

Seating the Elements . . . . . . . . . . . . . . . . . . . . . 7

Cleaning the Kiln. . . . . . . . . . . . . . . . . . . . . . . . . 8

The Electric Circuit . . . . . . . . . . . . . . . . . . . 8

Electrical Shutoff . . . . . . . . . . . . . . . . . . . . . . . . . 8

Circuit Breaker Panel . . . . . . . . . . . . . . . . . . . . . 8

Circuit Wire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Voltage Affects Firing Time. . . . . . . . . . . . . . . . . 9

Check the Electrical Installation . . . . . . . . . . . . . 9

Preparing The Kiln . . . . . . . . . . . . . . . . . . . . 9

Kiln Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Monthly Kiln Maintenance . . . . . . . . . . . . . . . . 10

Pyrometric Cones . . . . . . . . . . . . . . . . . . . 11

Cone Numbers . . . . . . . . . . . . . . . . . . . . . . . . . 11

Heat Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Using Cones . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Pyrometric Cone Charts . . . . . . . . . . . . . . . 12, 13

How to Position Cones on the Shelf . . . . . . . . 14

Using Cones in Digital Kilns . . . . . . . . . . . . . . . 15

The Bending of the Cone . . . . . . . . . . . . . . . . . 15

Firing Accessories. . . . . . . . . . . . . . . . . . . 16

Preparing To Fire The Kiln . . . . . . . . . . . . 17

Vacuuming the Kiln. . . . . . . . . . . . . . . . . . . . . . 17

Drying Greenware. . . . . . . . . . . . . . . . . . . . . . . 18

Shelf Preparation . . . . . . . . . . . . . . . . . . . . . . . 19

Loading The Kiln . . . . . . . . . . . . . . . . . . . . 21

How to Store Kiln Furniture . . . . . . . . . . . . . . . 21

Guidelines for Loading the Kiln . . . . . . . . . . . . 21

Distances Inside the Kiln . . . . . . . . . . . . . . . . . 22

Glazed Ware . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Heat Distribution Inside the Kiln . . . . . . . . . . . . 23

How to Position Posts. . . . . . . . . . . . . . . . . . . . 24

Bead Rods . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Firing Large Ware Across Half Shelves . . . . . . 24

Tile Holders. . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Firing The Kiln . . . . . . . . . . . . . . . . . . . . . . 25

The Stages of Firing . . . . . . . . . . . . . . . . . . . . . 25

When to Speed Up the Firing . . . . . . . . . . . . . . 25

Venting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Cooling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

The Basics of Firing . . . . . . . . . . . . . . . . . . . . . 28

The First Firing in Your New Kiln . . . . . . . . . . . 29

Loading and Firing Low-Fire Greenware . . . . . 30

Loading and Firing Low-Fire Glaze . . . . . . . . . 30

Loading and Firing Overglaze . . . . . . . . . . . . . 31

Loading and Firing Ceramic and Glass Decals 32

Loading and Firing Porcelain Greenware . . . . 32

Loading and Firing Porcelain Glaze . . . . . . . . . 33

Loading and Firing Stoneware

Greenware or Glaze . . . . . . . . . . . . . . . . . . . . . 33

Imperfections. . . . . . . . . . . . . . . . . . . . . . . 34

General . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Bisque . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Glaze . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Underglaze . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Overglaze . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Porcelain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Kiln Maintenance . . . . . . . . . . . . . . . . . . . . 36

Note: Whenever you turnoff the circuitbreaker

to your kiln, tape the breaker box door shut
and leave a note saying, “WORKING ON
KILN. BREAKER OFF.”

How to Open the Switch Box . . . . . . . . . . . . . . 36

Preventive Maintenance

Inside the Switch Box . . . . . . . . . . . . . . . . . . . . 37

Element Maintenance . . . . . . . . . . . . . . . . . . . . 37

Firebrick Maintenance . . . . . . . . . . . . . . . . . . . 43

Tightening the Lid Band . . . . . . . . . . . . . . . . . . 45

Adding a Steel Base Plate . . . . . . . . . . . . . . . . 45

Replacing the Steel Base Plate and

Turning Over the Bottom . . . . . . . . . . . . . . . . . 45

Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Index . . . . . . . . . . . . . . . . . . . . . . Back Cover

“Pottery, as you know, is frustrating. But we
could not fully enjoysuccess if wedid notexperi
ence failure. The whole experience is pro
found.”

—Steve Burtt

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-

Fire only in a well ventilated area! 3

SAFETY

IMPORTANT

Read each page of this manual in detail
before you install or operate your kiln.
Warranty does not cover damage
caused by failure to follow instructions.

Note: Experienced kiln operators keep a small

timer with them as a reminder that the kiln is fir
ing. You could set the
alarm on a digital wrist

­watch for the estimated
firing time less 20 min

­utes. When the alarm
sounds, go to the firing
room to check the kiln.
Do not leavethe kiln un

­attended, especially
near the estimated
shutoff time.

FOOD-SAFE GLAZES

Some glazes may not be designed for
surfaces that will be in contact with food
or drink. When you make food or drink
containers, select a glaze that has been
formulated, tested, and labeled as
approved for surfaces that will be in
contact with food or drink. Follow the
glaze manufacturer's instructions
exactly, without any variations. Have
custom glazes tested for food safety by a
lab such as Alfred Analytical Laboratory.
You can learn more about glaze safety in
Mastering Cone 6 Glazes, by John
Hesselberth and Ron Roy.

Insurance Companies

If your insurance company ever inspects your kiln
room, tell the inspector that you follow the safety and in
stallation guidelinesshown next. What insurance compa
nies want to see:

■

Fire extinguishers and smoke detectors.

■

An electrical shut-off near the kiln (not needed for 120
volt models).

■

You have removed combustibles from the kiln room.

■

A licensed electrician installed the circuit.

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Important Safety Rules

Following these safety pointers will add little extra
time to your daily routine. There is little danger of serious
burn from accidental contact if you exercise the same
caution you would use with an electric iron.

●

Place the kiln on the stand recommended by Para

gon. When a kiln is safety tested, the lab fires the kiln

on the stand designed for it. Cinder blocks or bricks

can inhibit the flow of air under the kiln. They can

also change the kiln’s heating characteristics.

●

Place the kiln on a non-combustible surface.

●

Do not install closer than 12" from any wall or com

bustible surface.

●

Fire only in a well ventilated, covered, and protected

area.

●

Do not open the lid until kiln has cooled to room

temperature and all switches are off.

●

Dangerous voltage: do not touch the heating ele

ments with anything.

●

Disconnect kiln before servicing.

●

Do not leave kiln unattended while firing. Do not

leave a kiln turned onat your

studio while you are at home

sleeping.

●

Wear firing safety glasses

when looking intoa hot kiln.

●

Unplug the kiln, or turn off

the electrical shut-off box or

circuit breaker when the

kiln is not in use, especially

if you are concerned that

someone could turn it on

while you are away.

●

-

-

Keep the kiln lid or door

closed when thekiln is not in

use. This keeps dust out of

the kiln. Also, should some

­one turn onthe kiln whileyou are away, the closed lid
will keep the heat safely inside the firing chamber.

●

Never place anything on the kiln lid, even when the
kiln is idle. If people become accustomed to placing
papers and otherobjects onthe kiln,they may forget
and do that while the kiln is firing.

-

-

-

“Centering the clay has a way of putting me
into that altered state where time doesn’t hap
pen.”

—Millie Carpenter

4 Monitor the kiln during operation!

●

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; it be
comes hot enough to damage the cord.

●

Avoid using extension cords.

-

●

Wear gloves when you

load and unload your

kiln. The gloves should

be thick enough to pro

­tect you from glaze
shards and bits of pyro

­metric cones that have
stuck to shelves, sharp
edges of broken ware,
and sharp stilt marks on
the bottom of glazed
ware. Razor-sharp glaze
fragments can be so
small that they are difficult to see.

never feel hot. Make sure the plug is pushed all the
way into the receptacle.

●

Never place extra insulation around the kiln in an at
tempt to conserve energy. The extra insulation can
cause the switch box wiring to over-heat and the
steel case to warp.

●

Do not wearloose-fitting clothing around a hotkiln.

●

Remove flammable materials from the kiln room. If
you fire a kiln in the garage, park your car outside.
Remove the lawn mower, gasoline, and other flam
mable materials. Keep packing materials such as
shredded newspapers out of the kiln room.

-

-

●

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
knowledgeable supplier. Do not fire marbles, pieces
of concrete, rocks, and other objects. Rapid heating
to high temperature can cause violent reactions in
many materials.

●

Avoid firing toxicmaterials such asmoth balls inside
the kiln. Moth balls create toxic fumes inside a kiln
and can even explode.

●

Never fire tempered glass inside a kiln. It could ex­plode.

●

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 ex
plode inside a kiln.

●

If you smell burning plastic, turn the kiln off. Exam
ine the wall outlet and supply cord for signs of burn
ing.

●

As the kiln fires, it is a good habit to place your hand
on the kiln’s power cordto check the temperature. It
is okay if the cord is slightly warm, but it should

●

Keep unsupervised children away.

●

Keep a Class C fire extinguisher and a smoke alarm
in the kiln room. Mount the extinguisher near the
door to the room.

●

Do not breathe brick dust, kiln wash, or kiln repair
cement. Prolonged exposure may cause lung injury.
Vacuum the kiln with a HEPA filtered vacuum
cleaner or a central vacuum that takes the dust out­side.

●

Only vitrified ware should be used in a microwave
oven. (Vitrified clay has been fired to a point where
the particles becomeglass-like and nolonger absorb
water.) Non-vitrified clay such as earthenware is
generally not suitable for microwave use, because
the clay absorbs water. The water in the pores of the
clay can expand rapidly enough in a microwave to
cause the ware to crack or even explode. Ware that
has been decorated with metallic glazes should not
be used in a microwave oven.

●

Whenever you turn off the circuit breaker to your
kiln, tape the breaker box door shut and leave a note
saying, “WORKING ON KILN. BREAKER OFF.”

How to Avoid an Over-Fire

Suggestions by Mel Jacobson, Potter

1 Useanalarmclock.Iusetheoldwind-up

kindwithaloudringer.Setitforacertain
time, and make sure you follow the ring.
Place a small battery-operated oven timer in
your pocket if you need extra reminders.

-

-

-

2 Get a large bulldog clip and paint KILN in

red. Clip it to your jacket, or hang it from a
doorknob. Or place a sign where you hang
your apron: KILN ON.

3 When I was a high school teacher, I had the

janitor turnoff the master breaker to the kiln
every night at 8. No kiln would ever be on
past 7, ever, anyway.

Fire only in a well ventilated area! 5

SETTING UP

Setting Up The Stand

Operate your Paragon kiln only on the stand provided.

(Sometimes people buy used kilns that are missing the
original stand and place the kiln on cinder blocks or
bricks. This is not a good idea,because bricksmay inhibit
the flow of air under the kiln. Cinder blocks could also
change the kiln’s heating characteristics.)

We recommend that you wear tight-fitting gloves such

as mechanic’s gloves while assembling the stand.

You will find 2 shelves, 2 side frames, and a bag of nuts

and screws in the stand kit. The shelf with the hole in the
center is a top shelf. The solid shelf goes on the bottom.
Thesideframeshavebottommountingholesforcasters.

1 Insert a short tab

from the solid
shelf into a side
frame. The tab
goes on the out
side of the side
frame.

2 Repeat Step 1 for

the other side
frame.

3 Lay the top shelf

(the one with the
hole in the center)
over the side
frames. The short
tabs goon the out­side of the side
frames. The long
tabs go on the in
side of the side
frames.

4 Insert the screws

and nuts.

5 Install the casters. You can leave off the casters if

you want to make the stand shorter.

Caution: You MUST lock the casters before

placing the kiln on the stand.

-

Short
tab goes
on out­side.

The short bent tab goes on the outside
of the side frames.

-

Short
tabs go
outside.

The long bent tabs go on the inside of
the side frames. The short bent tabs go
on the outside.

Install the Orton Vent Cup

Skip this stepif your kilndoes not have an OrtonVent.

1 Attach the hose to the vent cup with the clamp

that came with the Orton Vent.

2 Slide the ventcup up insidethe standand into the

flange supports in the top shelf. Rotate the vent
cup a littleas you slide it into the flange supports.

3 Place the gasket that came with the vent over the

vent cup.

Side frame

Long
tabs go
inside.

Attach the
Lock-In Lid
Support

Models with the lid support:
Connect the lid support to the
studonthesideofthekiln.
Tighten the lock nut until it is
snug.

Where to
Locate Your Kiln

In addition to these guidelines, please see “Safe Instal
lation of the Electric Kiln,” a separate publication
shipped with your kiln.

■

Plan your firing area near a present electrical outlet or
where a new circuit can easily be installed.

■

Place your kiln in a well-ventilated, covered, and pro
tected area such as the garage, basement, storage
building, utility or ceramic hobby room.

Caution: The fumes from ware fired in a kiln can

corrode metal and etch windows. If you are in­stalling your kiln in a living area such as the base­ment or in the garage, it should be vented with a
motorized vent. Please see “Safe Installation of
the Electric Kiln.”

Q Is it okay toplace thekiln on a covered porch or

in a carport?

A Yes. As long as the kiln is protected from the

weather,itcanbeinstalledinaroofed-inarea
withopensidessuchasacarport.Butespecially
in humid areas, the kiln may rust faster than it
would inside an enclosed building.

■

Do NOTstore gasoline, paint, or other flammable liq
uids in the kiln room.

■

Never allow the room temperature of your firing room
to exceed 100 - 110°F. (Room temperature is the tem
perature measured three or more feet away from the
kiln.) If necessary, use a fan to move the heat away
from the kiln’s switch box.

■

Electrical components such as switches, the digital
controller, relays, and wiring lastlonger when theystay
cool. The easiest way to lower the temperature of a
kiln’s switch box is to blow air into the side louvers
with a fan. It doesnot need to be alarge fan; one with 4"

- 8" diameter blades on low speed is effective. The air
shouldgoinonesideoftheswitchboxandoutthelou
vers of the other side. Do not allow air to blow into the
kiln through the peepholes or lid.

-

-

-

-

-

6 Monitor the kiln during operation!

Lower the switch box temperature with air movement. This is especially
useful during hot summers.

■

Provide a minimum of 12” clearance between the kiln
and the closest wall.

■

Never place the kiln near curtains or other combusti
ble materials such as art room supplies.

■

Position the kiln stand on a level surface that will not
be damaged by heat. We recommend a cement floor.
However, a sheet of protective material may be used
under the stand. Consult your hardware or building
supply store for a recommendation.

■

Avoid placing the kiln stand on rubbertile, linoleum or
any surface that might tend to mar or discolor when
heated.

■

Place the kiln in an area where it can be easily loaded
and unloaded yet out of the way when not in use. For
convenience in moving the kiln when not in use, con­sider the reinforced, deluxe stand with casters.

■

Keep unsupervised childrenaway from the firing area.

■

Do not allow the kiln’s power supply cord to contact
thesideofthekiln.Thiscouldburnthecord.Before
each firing, check all around the kiln to make sure
nothing is touching the kiln case.

Cold Weather

It is okay to store and firethe kiln in an unheatedbuild
ing during winter. But before operating, raise the tem
perature of the kiln’s switch box to at least 32°F (0°C)
with a space heater.

Q What is the difference in the cost to fire a kiln

in a warm room compared to firing in a cold
room?

A Room temperature has almost no effect on the

electrical cost of firing a kiln. However, if your
kiln is under a carport that has open sides, pro
tect the kiln from wind. Air blowing against the
case can raise the electrical cost slightly. If you
use a fan to lower the temperature of the switch
box, position the fan so that the air blows into the

-

switch box louvers but not onto the firing cham
ber case.

Installing the Kiln in an
Institutional Setting

Sometimes maintenance employees are not familiar
with kilns. For this reason you might want to place a sign
on top of the kiln when the kiln is not in use:

Do not stand on the kiln.

Do not move the kiln.

Do not place anything on top.

(Reminder: Remove any signs from your kiln before
you fire it.)

Place a signon the door of thekiln room: Kilnis Firing.

Every year hold a short kiln orientation session for the
maintenance staff. You could also send the same infor
mation by e-mail to the school principal and the mainte
nance department. Explain the following:

-

1 The kiln is fragile.

2 During operation, the kiln makes a clicking noise.

This is normal.

3 If you use a temperature alarm on your digital kiln,

explain the beeping noise. Otherwise it will
frighten students and maintenance people be­cause they will assume that something is wrong.

Seating the Elements

Shipping may dislodge the elements of your kiln.
Please performthe kitchen knife test to make sure the el­ements are seated in their grooves.

Kitchen Knife Test

Caution: Always unplug the kiln before touching

an element with anything.

Caution: Touch only a cold element, never a hot

one, with a plastic object such as a comb. Plastic
will melt on and ruin a hot element.

Press the ele
ments into their

-

grooves by running a

-

blunt kitchen knife,
plastic comb, orsimi
lar blunt object com
pletely around each
groove. Do this be
fore the first firing,
because it may not be
evident to the eye
whether the coil is in
its groove.

Note: Don’t force the element into the groove

corners. If the element won’tfit easily, lengthenit
with automotive snap-ring pliers (available from
auto parts stores). Stretch the space between the

-

-

-

-

-

-

-

Fire only in a well ventilated area! 7

Expanding coils with automotive
snap-ring pliers.

As shown here, new elements do
not lie flat in a curved groove.

coils just a little where
the element fits into
the wall brick corners.
It should then easily
seat into the corners.

If the element doesn’t
lie flat in the bottom of its
groove, you needn’t be
concerned as long as the
element fits all the way
back into each corner and
doesn’t bulge outside the
groove. In fact, elements
will not lie flat in their ter
minal bricks (right behind
switch box).

Before the kiln is fired,
the elements are mallea
ble; there is no danger of
breaking the elements
when you bend them. After
firing, however, the ele
mentsbecomebrittleand
must be reheated if they
bulge out of the groove.
See “Reseating a Bulging
Element,” page 38.

THE ELECTRIC CIRCUIT

Please have only a qualified electrician install your kiln
circuitincompliancewithlocalcodes.Ifyouplantouse
an existing circuit, have a qualified electrician check the
circuit and compare the wire and breaker sizes with those
shownintheParagoncatalogandwebsite.Thecircuit
must never be used by other appliances while the kiln is
firing.

-

Electrical Shutoff

We recommend an electrical
shutoff box near the kiln in addi
tion to having a circuit breaker at

­the electrical panel. The shutoff

box is a must for direct-wired
kilns, which can’t be unplugged
to disconnect the power. We rec

­ommend disconnecting the

power when the kiln is not in use.
If you unplug the kiln frequently,
the spring tension on the wall outlet may eventually
weaken. The shutoff box disconnects the power without
having to unplug the kiln.

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-

Cleaning the Kiln

Cleanyourkilnbefore
firing. Use a a vacuum
cleaner (preferably with a
soft brush nozzle) to re­move brick dust from in­side the kiln, especially
from the grooves. A damp
cloth or damp sponge may
also be usedto gently wipe
dust from the sidewalls
and brick bottom. Clean
the kiln again whenever
you notice dust inside.

Note: Vacuum the kiln with a HEPA filtered vac

uum cleaner or a central vacuum that takes the
dust outside. Keep the vacuum hose away from
the controller on digital kilns.

“What is it about that meditative quiet when
kids are working with clay? I teach 3rd, 4th and
5th graders in a very poor neighborhood, and
even the toughest 5th grader will let down his
‘cool and tough’ act for clay.”

—Grace Sheese

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Note: The shutoff box is not needed for 120 volt

kilns.

Circuit Breaker Panel

Install the kiln within 25' of the fuse or circuit breaker
panel. For every additional 50' from the panel, increase
the circuit wire size by one gauge.

But do not place the kiln right in front of the electrical
panel. Keep the panel at least 3' - 4' away. Otherwise, the
breakers may trip more easily on a hot day. This is be
cause a circuit breaker is triggered by heat, and a nearby
kiln can raise the temperature of the electrical panel.

Note: Do not use the circuit breaker to discon

nect the kiln. Frequently switching the circuit
breaker will weaken it. Instead, use a shutoff box
located near the kiln.

-

Circuit Wire

Useacircuitwiresizelargeenoughforthewallrecep
tacle amperage, even if the kiln amperage is less than the
wall receptacle amperage.

WARNING: Changing the cord plug on
Paragon kilns mayvoid your warranty.

Trying to save money on the circuit installation by us
ing a smaller diameter wire is not cost effective, because
the thinner wire generates more heat than the thicker

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-

-

8 Monitor the kiln during operation!

wire. The heat means wasted electricity and sometimes
slightly lower voltage.

Use copper wire. Do notallow an electrician to usealu
minum wire on your new circuit. Aluminum terminals
corrode worse than copper and require greater installa
tion care. Avoid using extension cords.

The Paragon kiln catalog and website show recom
mended breaker and wire sizes for the circuit. (These
recommendations assume that the circuit is dedicated,
which means that it powers only the kiln and no other
appliance.) Local codes supersede our catalog recom
mendations.

You may already have a heavy-amperage circuit conve
niently located where you will keep your kiln. But do not
assume that the circuit is the correct size. Clothes dryer
circuits are too small for most studio kilns. Even if you
have the correct wall outlet,you shouldverify that the wire
and breaker sizes are also correct.

Voltage Affects Firing Time

Voltage fluctuation can vary the firing time for a given
pyrometric cone from as little as one half to more than
twice the average time. If the voltage is too low, the kiln
will never reach full temperature. This can be corrected
only by having the utility company adjust the voltage.
(However, 208 volts cannot be adjusted to 240 volts, and
vice versa.)

Check the Electrical
Installation

Check the receptacle voltage with a voltmeter before
plugging in your kiln. Measure between the two slots
where the flat blades on
the plug are inserted.
Only a qualified person
should perform this test,
because improper use of
a voltmeter can result in
shock to the user.

Verify that the safety
grounding wire is prop
erly connected in accor
dance with the National
Electric Code (or equiv
alent for your country).
Thiscanbeprovenonly
by visual inspection of
the receptacle wiring.
Sometimes circuits have
been installed by home
owners with limited
electrical experience.

-

-

-

-

Checking the voltage of a wall outlet in
the Paragon factory.

PREPARING

-

THE KILN

-

Kiln Features

-

Kiln Firebricks

Premium, hand-selected insulating refractory bricks

are lightweight, porous, and precision cut tofit tightly and

­store heat in the walls, bottom, and lid. The form-fitted

jacket snugly holds the bricks together. Because the fire

­bricks store heatso efficiently,the cost ofelectricity to fire

the kiln is surprisingly low. Kiln brick is extremely fragile
and will chip easily; always handle your kiln and its brick
with care. Never let a shelf bump against the firebrick.
Firebrick damage is not covered by warranty.

Note: Allow only trusted people to load and un

load your kiln. Beginners may not understand
that the firebricks are fragile.

The temperature required for
ceramics is well above the melting
pointofmostmetals,andtremen­dous stressesare generated during
the firing. The insulating fire­bricks expand and contract with
each firing. In time, cracks will ap­pear in the brick while the kiln is
cold. This is normal and will notaf­fect your kiln’s operation.

Heating Elements

The heating elements in your Paragon kiln are heavy
duty for long life. All high temperature, heavy duty ele­ments are quite brittle after being heated to a high tem
perature and will break if bent while cold. By heating to a
dull red glow with a propane torch, an element may be
bent safely.

Never allowglaze, glass, silica sand, kiln wash, or other
foreign materials to touch the elements since they will
destroy the element when the kiln is fired.

Peepholes

Large peepholes (view ports),
tapered for a wide view without
heat loss, are used for observing
theprogressofyourfiringsoyou
can see when the pyrometric cones
bend. Use at least one large cone
on the shelf during every fir
ing—even in a digital kiln. With
venting as their secondary func
tion, peepholes allow oxygen to be
drawn into the kiln’s chamber and serve as anescape pas
sage for smoke and water vapor.

When looking through the peepholes, always wear fir
ing safety glasses, which areavailable from Paragon.They

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-

-

-

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Fire only in a well ventilated area! 9

Monthly Kiln

Maintenance

1 Make sure the kiln is centered on the stand

and that the stand is stable. Check the area
around the kiln and remove flammable ma
terials that have accumulated.

2 Vacuum the kiln with the soft brushnozzle of

avacuum.(Youcanuseahardplasticnozzle
as long as you don’t touch the bricks with it.)
Remember to vacuum the brick grooves. If
you have difficulty removing debris inside
the grooves,use anarrow wand-typevacuum
cleaner nozzle being careful not to scrape
the brick walls. (See
page 17.)

3 Vacuum around and

under the kiln: floor,
shelves, and walls.
This keeps the kiln
interior cleaner and
adds life to the op­tion vent motor.

protect your eyes from the
bright glareof the firing cham

­ber and make it easier to see
the cones at high tempera

­tures.

Peephole plugs are used to

stop air from entering the kiln,

-

not to prevent heat loss. It is
beneficial to have some air en

­tering the kiln at all times, so it
is not necessary that the plugs
fit tightly.

Wear firing safety glasses
when looking through a peep
hole into a hot kiln.

-

You can leave the peephole

plugs out for some firings. This improves oxygenation in

­side the kiln. However, this may cause cold spots in the
kiln, especiallyif there are air drafts in your firing room. If
you leave the peephole plugs out, keep ware at least 3"
from the peephole. If your ware develops problems from
cool air drafts, such as a glazed piece with a crazed spot,
insert the peephole plugs after the kiln reaches 1000°F
(537°C), or about half way through the firing. If you use a
motorized downdraft Orton Master Vent, keep peephole
plugs inserted and the lid closed all the way for the entire
firing.

Prop-R-Vent

4 Check the kiln wash

on shelves and kiln
bottom for cracks
and bare spots in the
coating. Remove any
glaze drips. Reapply
kiln wash if needed.
(See page 19.)

5 Check the power

cord and outlet for
heat damage. Has
the cord touched
the side of the kiln during firing? This will
damage the cord insulation. Replace the
cordsetorwalloutletthatshowssignsofheat
damage.

6 Make sure elements are not bulging out of

the grooves. Repair if necessary. (See page

38.)

7 Kiln Downdraft Vent: Check the vent duct

for leaks. (See page 26.)

8 Digital kilns: Make sure the thermocouple

extends far enough into kiln:

¼" diameter thermocouple: 1" into the kiln

1

" diameter thermocouple:

8

5

" into the kiln

8

Leave the lid closed if
you have a motorized
downdraft vent.

The Prop-R-Ventin the
first position.

The Prop-R-Vent in the
extended position.

Ceramic pieces release gases and water vapor during
firing. Venting allows these gases to escape. Paragon’s fall
away Prop-R-Vent is installed on the switch box of most
top-loading kilns. The prop supports the lid in an open
position during the venting period. The Prop-R-Vent
vents the lid in two stages.

To close the lid after venting, lift the lid handle an inch
to let the Prop-R-Vent fall. Lower the lid gently; warranty
does not cover damage to the kiln or the ware due to a
dropped lid. For lusters and overglazes, engage the
Prop-R-Vent in its second position for additional venting.
Do not rush the cooling of your kiln with the
Prop-R-Vent. This can damage your ware.

Do not drop the lid. Some people touch the lid handle
for the first time to lower the lid from venting and drop
the lid because the handle is hot. Use a heat-resistant
glove or a lid lifter (sold by Paragon) to lower the lid.

10 Monitor the kiln during operation!

Full-Formed Steel
Base

The galvanized steel base
under the brick bottom
strengthens the kiln. It cov

­ers the entire bottom from
edge to edge.

The Lid Support

Your kiln
has either the
lock-in lid
support or
the LiteLid
spring coun

­ter-balance.
Please do not
let unat
tended chil

-

­dren raise the
lid. Do not let the lid drop. It is
fragile and mustbe lowered gently.

Keep the kiln lid closed when

the kiln is not in use. This keeps

Do not exert downward
pressure on the lid until
the lock-in lid support is
completely disengaged.

dust out of the kiln. Also, should
someoneturnonthekilnwhileyouareaway,theclosed
lid will keep the heat safely inside the firing chamber.

The LiteLid Support

1 Begin raising the lidusing

the center lid handle.
When the lid feels
weightless, hold a side lid
handle with your other
hand to guide the lid the
rest of the way up.

2 Donotletgoofthesidelid

handle until the lid

The LiteLid spring can pinch fin
gers. Please keep unattended
children away from the kiln.

reaches its fully opened
position. Otherwise the
lid could slam upward,
damaging the firebricks
near the hinge. (Please
note: This type of damage
is not covered by war

-

ranty.)

3 Stay clear of the lid when

raising or lowering. This
is to prevent injury should

Do not let go of the side lid han
dle until the lid reaches its fully
opened position.

the lid drop.

Dust-Free Refractory Coating

The dark coating on the lid, the top rim of firebricks,
and in the peepholes reduces dust and hardens the fire
brick surface for longer life. Though it will lighten after
the first firing, the coating will last for several years.

PYROMETRIC CONES

Ceramists of early
times judged when the fir
ing was completed by the
color of the kiln interior
and the length of firing. In
1886, a German ceramist
named Seger made clay
cones that bent when the

A selection of self-supporting
cones. See the cone charts on
pages 12 and 13 for a list of cone
colors.

could see the cones bend and knew when to turn off the
kiln. His cones took the guesswork out of firing.

Today westill use Seger’s cones. They are called pyro
metric cones and are small pyramids of clay and mineral
oxide that soften and bend when exposed to heat. They
indicate when your ware has fired to maturity. When con­sulting your dealer with a glaze problem, you should have
abentconefromthatfiring.Theconewillhelptrouble
shoot the problem. The cone lets you compare one firing
to the next. Cones are manufactured by the Orton Ce­ramic Foundation andare available fromyour distributor.

Cone Numbers

The most confusing thing about cones is the way they
are numbered. They are easier to understand when you
know the reason behind the numbers. Pyrometric cones
are numbered from 022 through 01 and 1 through 10.
Cone 022 matures at the lowest temperature, and 10 ma

-

tures at the highest.

Seger numberedhis original cones from 1 to 20, with 1

being the lowest temperature.
Later, cones of even lower temper
atures thancone 1 were needed. To
avoid changing all the cone num
bers, thenew numbers started with
“0” and went from 01 to 022, with
higher numbers getting progres
sively cooler.

-

place the “0” with a minus sign.
Numbers without the “0” are posi
tive. The higher the positive num

ber, the higher the temperature.
Numbers with the “0” (or a minus sign) are negative.
The higher the negative number, the lower the tempera

­ture.Withthisinmind,youcanquicklyseethatcone5is

hotter than 05.

Note: Store boxes of cones in numerical order

from lowest to highest temperature so that you

ceramic ware received the
proper heat work. He posi
tioned the cones on a shelf
inside the kiln. By looking
through a peephole, he

To avoid confusion, mentally re

-

-

-

-

-

-

-

-

-

-

-

Fire only in a well ventilated area! 11

will be less likely to inadvertently pick up the
wrong box.

The number is stamped on the base of the cone. The
cone number for each material is usually stated on the la
bel by the clay or glaze manufacturer. Your supplier can
also give you the cone number.

Heat Work

Cones are rated by temperature. But it is more accu
rate to think of themas measuring heatwork, not temper
ature alone. Heat work is the combined effect of time,
temperature, and the atmosphere inside the kiln. All
thesefactorsaffectthematurityofyourwareandnotjust
temperature. For instance, firing to a lower temperature
for a longer time will produce the same maturity as firing
to a higher temperature for a shorter time. The “Tem
perature Equivalents” chart (next column) shows that a
self-supporting 05 cone requires a temperature of1911°F
to bend to 6 o’clock, yet when fired slower, it will bend at
1870°F.

During the last 100 - 200 degrees of firing, the firing
rate affects the bending temperature of a pyrometric
cone. The faster the rate, the higher the temperature
whentheconebends.Butthefiringspeedbeforethelast
100 - 200 degrees has no influence on the final tempera­ture of the pyrometric cone. The exception is an ex­tremely fast firing that bloats the cone.

Consult your supplier for therecommended firing rate
of yourclays andglazes. Thethicker theclay, theslower it
should be fired. Firing clay is like making cookies in an
oven. Heat the cookies fast, and they will be brown on the
outside but still gooey on the inside. Heat the cookies
slowly, and they will be brown all the way through.

Using Cones

Place the cones on a kiln shelf with the ware. As the
cones heat and bend, they form a glassy material that will
stick to a bare shelf. Therefore, apply kiln wash to the
shelvestopreventsticking.Donotapplykilnwashtothe
cones.(Seepage19forkilnwash.)Theconesslant8de
grees from vertical and bend in the direction of the slant.
They will not bend accurately if they are slanted at the
wrong angle. Position a cone so it will not touch nearby
ware as it bends.

Large cones come in ei
ther standard or self-sup
porting. Standard large
cones must be mounted in a
clay or wire plaque with 2" of
the cone exposed above the
cone holder. Or you can
mount largecones ina patof
clay. The clay should be dry
before firing. To speed dry
ing, make indentions in the
clay with the end of a small

-

-

-

Standard large cones in clay cone
packs.

°F Temperature Equivalents For Orton

Self-Supporting Pyrometric Cones

-

-

-

-

-

Cone Self-Supporting Cones Pre-Fire

Number Color

Heated at: 27° F 108° F 270° F

Per Hour* Per Hour* Per Hour*

022 — 1087 1094 Green
021 — 1112 1143 Fuschia
020 — 1159 1180 Orange
019 1213 1252 1283 Yellow
018 1267 1319 1353 White
017 1301 1360 1405 Pink
016 1368 1422 1465 Light Blue
015 1382 1456 1504 Violet
014 1395 1485 1540 Gray
013 1485 1539 1582 Green
012 1549 1582 1620 Fuschia
011 1575 1607 1641 Orange
010 1636 1657 1679 Dark Red
09 1665 1688 1706 Dark Red
08 1692 1728 1753 Dark Red
07 1764 1789 1809 Dark Red
06 1798 1828 1855 Dark Red
05 1/2 1839 1859 1877 Dark Red
05 1870 1888 1911 Dark Red
04 1915 1945 1971 Dark Red
03 1960 1987 2019 Dark Red
02 1972 2016 2052 Dark Red
01 1999 2046 2080 Dark Red

1 2028 2079 2109 Dark Red
2 2034 2088 2127 Dark Red
3 2039 2106 2138 Dark Red
4 2086 2124 2161 Gray
5 2118 2167 2205 Green
5 1/2 2133 2197 2237 White
6 2165 2232 2269 Fuchsia
7 2194 2262 2295 Orange
8 2212 2280 2320 Yellow
9 2235 2300 2336 White

10 2284 2345 2381 Pink

*Rate of temperature increase during last 90 ­120 minutes of firing. Tables by courtesy of the Ed
ward Orton, Jr. Ceramic Foundation.

Cone

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12 Monitor the kiln during operation!

°C Temperature Equivalents

For Orton Self-Supporting

Pyrometric Cones

Cone Self-Supporting Cones Pre-Fire

Number Color

Heated at: 15° C 60° C 150° C

Per Hour* Per Hour* Per Hour*

022 — 586 590 Green
021 — 600 617 Fuschia
020 — 626 638 Orange
019 656 678 695 Yellow
018 686 715 734 White
017 705 738 763 Pink
016 742 772 796 Light Blue
015 750 791 818 Violet
014 757 807 838 Gray
013 807 837 861 Green
012 843 861 882 Fuschia
011 857 875 894 Orange
010 891 903 915 Dark Red
09 907 920 930 Dark Red
08 922 942 956 Dark Red
07 962 976 987 Dark Red
06 981 998 1013 Dark Red
05 1/2 1004 1015 1025 Dark Red
05 1021 1031 1044 Dark Red
04 1046 1063 1077 Dark Red
03 1071 1086 1104 Dark Red
02 1078 1102 1122 Dark Red
01 1093 1119 1138 Dark Red

1 1109 1137 1154 Dark Red
2 1112 1142 1164 Dark Red
3 1115 1152 1170 Dark Red
4 1141 1162 1183 Gray
5 1159 1186 1207 Green
5 1/2 1167 1203 1225 White
6 1185 1222 1243 Fuchsia
7 1201 1239 1257 Orange
8 1211 1249 1271 Yellow
9 1224 1260 1280 White

10 1251 1285 1305 Pink

*Rate of temperature increase during last 90 ­120 minutes of firing. Tables by courtesy of the Ed
ward Orton, Jr. Ceramic Foundation.

brushhandleaftertheconeisinserted.Self-supporting
cones stand upright without holders. We recommend
self-supporting cones; they are easier and faster to use
than standard large cones.

Handle cones carefully. They are fragile because they
are unfired clay. If dropped, they may develop cracks that
could affect their performance. Age and normal humidity
do not affect the accuracy of cones. Even if a box of cones
is 20 years old, you can still
use them. However, do not
use them ifthey become wet.

Standard pyrometric
cones come in two lengths: 1

1

" and 2 ½". The small cone

8

is used in the Kiln Sitter and
the large cone is used on the
kiln shelf.

Note: The Kiln Sitter is

a mechanical shut-off
device that is triggered
by the bending of a
smallcone.Digitalcon
trollers do not use the

-

A self-supporting cone next to a
small Kiln Sitter cone.

small Kiln Sitter cone.

Self-supporting conesare

3

2

" long. They are packaged

8

as sets of double cones so
that they will be less fragile
in shipping. You will need to
separate the cones. Hold the
large section of the cones
with the thumb and forefin­ger of each hand and twist.
They will snap apart.

Check the accuracy of

Separate the cones with thumb
pressure.

yourKilnSitterordigital
controller by placing cones on the shelf. Mount behind
each peephole a large cone of the same number you are
firing to. This is the firing cone. Next to the firing cone
placealargeconeofthenextlowertemperature;thisis
the guard cone. For example, if you are firing to cone 05,
place large cones 05 and 06 on the shelf behind the peep
holes. We recommend at least one large shelf cone in ev

-

-

ery firing.

Place large cones on the shelf at least 3" away from a
peephole. This is to avoid cool air drafts.

Always use Paragon firing safety glasses when looking
into the peepholes. These glasses are specially coated to
filter out the infra-red and ultra-violet light inside a kiln.
They also protect your eyes from heat and reduce glare,
making the pyrometric cones easier to see.

-

Fire only in a well ventilated area! 13

How to Position Cones

mit placing a shelf at peephole level, use a post to
raise the cones.

on the Shelf

A cone seen through a peephole
while the kiln is at room tempera
ture.

A same cone silhouetted by a heat

-

ing element at cone 7—2262°F
(1239°C).

4 The element thatsilhouettes the cones should be

level with the lower part of the cone. If the ele

­ment is in line with the upper part of the cone,
the cone willdisappear from view when itbends.

Note: The center ele

­ments in some kiln
models do not glow
brightly even at high
temperatures. In this
case, position the wit

­ness cones level with a
top or bottom element.

-

The element must
glow brightly to silhou

The top and bottom elements glow
brighter than thecenterelementsin

-

some kilns.

ette the cones.

5 If you use the three-cone system, always have the

higher temperature cone
onthesamesideinevery
firing. Otherwise you can
lose track of which cone is
which.

6 Wear kiln firing safety

glasses when viewing the
cones through the peep­hole.

Wear firing safety glasses when viewing a witness cone.

Position the witness cones so that you can see them
through a peephole during firing. If the kiln takes longer
than usual to fire, you may wonder if something has gone
wrong and the kiln is over-firing. But by seeing the cones,
you will know how the firing is actually progressing.

If you follow these guidelines,you shouldbe able to see
the cones even at cone 10:

1 Place the cones8" - 12" away from a peephole.Po

­sitioning them closer makes them difficult tosee
and may also subject them to cool air drafts.

Note: Keep cones at least 2" from an element.

2 Have enough space

around the cones to
keep them from
touching a piece of
ware when they bend.

3 Position cones so that

when viewed from the
peephole, they are sil
houetted by an ele

-

­ment on the opposite
kiln wall. If the size of
your ware doesn’t per

Line up the heating element with the lower part of the cones.

-

Note: You may find it easier

to see the cones by holding a
small mirror at a 45° angle in
front of the peephole. You
will still need firing safety
glasses.

Caution: Some ceramists blow into the peephole

to momentarily darken the cone so they can see it
better. Please do not do this. This can blow brick
dust onto the ware and is a safety hazard. Cool air
also changes the temperature at which the cone
bends.

Caution: Some ceramists coat the witness cones

with red iron oxide to make them easier to see.
Avoid this. It changes the temperature at which

theconebends.

“Working in my small studio
keepsmesaneandhappy.Ifor
get about everythingelse and am
grateful to do what I do.”

—Heidrun Schmid

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14 Monitor the kiln during operation!

The Bending

Q When a kiln is taking longer thanusual tocom

plete a firing, how do you know whether some
thing has gonewrong and the kiln isover-firing?

-

-

of the Cone

You can watch the cones as they bend. If you
want to slow down the bending for greater con
trol, add a digital temperature hold near the end
of the firing. (See the separate controller man
ual.)

The large standard and self-supporting wit
ness cones have reached maturity when the tip
bends to the 6 o’clock position.

Large standard cone: The tip should bend
straight down until it just begins to touch the
cone holder.

Self-supporting cone: The self-supporting
cone should bend downward until the tip is even
with the top of the base. The tip should be about
½" above the shelf surface. If the self-supporting
cone tip touches the shelf, the cone is over-fired
by a few degrees of temperature.

Self-supporting cones: Left, over-fired or “puddled”; Center,
fired to maturity; Right, under-fired.

UsingConesin

A You should place pyrometric witness cones on

the shelf so that you can see them through a

-

-

-

peephole.

Here’s another way to
help prevent an over-fire:
Learn to estimate kiln tem
perature by the color of
light showing around the
lid and peepholes. That
way, you can tell at a glance
if all is well with your kiln
when you check it.

Q Is it okay to use old

cones?

A Yes. Age does not af

fect the cones.

Q Do you need to look

at witness cones dur­ing a firing or only after
the kiln has cooled?

A Position the cones so that you can see them

through a peephole. Form the habit of looking at
the cones near the expected shutoff time espe­cially if thefiring is taking longer thanexpected.

-

The light around the edge of the lid

-

and inside the peephole changes
color as the kiln gets hotter. You
can learn to estimate temperature
by the color of that light.

“My grandmother, who has taught china
painting for 60 years,coached me duringmy first
firing. I treasure the memory of that moment of
my life with her.”

—Darcy Giesseman

Digital Kilns

Although the digital controllers do not need cones to
operate, we recommend them anyway. Place at least one
self-supporting cone on a shelf behind a peephole in ev
ery firing.

If the bending of the witness cones varies slightly from
firing to firing, you need not be concerned. Slight varia
tions in the bending of the cone are normal and may be
due to the location of the cones on the shelf, the distance
of the cones from ceramic ware, and even variations in
cones from box to box. This normal variation will have no
effect on your ware.

If your digital kiln shutsoff before the large coneon the
shelf bends and you’re there when it happens, program
the controller to a higher temperature or add a hold. (See
the separate digital controller manual for your kiln.)
Then turn the kiln back on.

“When I couldn’t get my first little half pound
ball of clay to center, my teacher kneeled down
beside my wheel, waited for me to stop, and said,

-

‘Hey, it’s just mud. Don’t let it control you. You
control it.’ When I have a problem, especially

-

with centering, I just zone out with my hands in
position on the clay, relax my shoulders, and tell
myself, ‘It’s just mud.’ And the clay obeys.”

—Sheron Roberts

“I love the impossibility of ceramics. Just
when I think I’ve got it figured out, something
bursts my bubble once again. It keeps me hum
ble. It keeps me interested, challenged, en
thralled.”

—Kelley Webb Randel

Fire only in a well ventilated area! 15

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