Tag Archives: kiln

Art Diary 2018 – Week Ending May 11

Art Diary. A weekly wrap-up of art activities. For earlier posts, search under the category Art Diary.

Art is a refuge.

Saturday, May 5 – I spent the day either running in the park or cleaning my entire house. So, not much time for art. At night, I colored in this drawing done last week in my current large Artist Sketchbook. I used various markers.

I also looked over this landscapy thing I’d done on the next page – it was a way to use up paint on the brush when I was working on the tiny tree portraits from last week. I’m trying to think what to do to it next – it needs more, but what?

AD 5-5 #3

I’m also thinking about another project I want to do. I have been writing very short stories called Minuscules (look here for more info and to find out how to read the ones I’ve posted so far). I want to make them into a print book (if you follow my poetry blog you know of my love for print books, and for making my own words into print) and I also thought I might illustrate each story with a black and white pen and ink picture. (Because, as you know, color illustrations make the book cost a LOT more, plus – I like the idea of using my Chinese brush or my dip pen and making pictures.)

Anyway, I’ve printed out my current assortment of stories and I bought watercolor pads that I think would make a nice surface to work on. I have them in my studio and ready for when I settle into the process. Maybe I’ll start this week…or at least start thinking about how to go about things.

AD 5-5 #4

Sunday, May 6 – I’ve decided that I will finish up the current clay items I have in process and then see about that book illustration idea when the clay is done and out of my brain. Accordingly, I got to work on clay. I covered the remaining small tiles and “rocks” in Jet Black Velvet underglaze (dropping one rock in the bottle in the process – luckily the bottle was very low, so I could fish it out. Messy…).

AD 5-6 #1

Here are the small items partway through the session and then at the end.

The face tiles were done on clay rolled thinner than usual, leftovers from when I put together the figurines. I don’t like skinny tiles, and I won’t sell them, so I have decided these will be art drop-off material – I’ll leave them around for people to find, out in the world.

I finished up these figurines:

AD 5-6 #3

and started on these guys.

AD 5-6 #4

Later that evening, I was trying out a function on my phone – Notes – where there are simple drawing tools. Just doodling. I made a lady (an actress in the “Murder She Wrote” episode we were watching on DVD) and then I made an abstract (scribbled over a photo chosen at random from my photo albums.) I like drawing with my finger. One day I’m going to see about an iPad and drawing programs.

Monday, May 7 – I finished up the coloring of my clay work – these figurines were done:

AD 5-7 #1

and I applied Jet Black Velvet underglaze to the edges of the many small tiles. If I were intending these to be used for practical applications, such as on a wall or a table top, I would not bother with this step, as the edges would not show but instead would be covered by grout.

AD 5-7 #2

As a note, for these tiles to be used in a functional way, I would have to glaze them. Grout will adhere to unglazed tile, discoloring it; and an unglazed tile will not repel water and will absorb whatever is thrown at it. If these tiles were bowls, say, they would need to be glazed to be food-safe.

But, I intend these tiles just to be for fun, for decoration, etc. They could be displayed individually or they could be glued to a board and framed (without grouting).

Now I really need to clean my kiln shelves, so that I can fire these items.
As background info on kiln wash and kiln shelf care, look here.

Tuesday, May 8 – A really beautiful day outside, so…I decided to get to work on those kiln shelves. I only have two that need work. That’s nice.

AD 5-8 #1

I carried them outside to the picnic table.

AD 5-8 #2

First I scrape them with a … scraper. Now you see why I do this outside.

I then gather my kiln wash, some water, and a brush. There are various recipes for kiln wash and I have no idea what is in my version – I just buy it from the supplier. It is a very fine powder, almost like talc in consistency, and for some reason they always pack it in a paper bag, so I put it in two plastic bags to store it better,.

The idea is to mix it to the consistency of buttermilk and apply thin coats. I gave my shelves a couple of layers.

Then I went off to the park to run and came back a couple of hours later. I got a nice surface – no chips or bubbles. I can use the shelf right away – I do not have to fire it first.

AD 5-8 #20

I went into the garage to give the kiln a little bit of a cleaning. I removed the shelf that always stays on the bottom and swept up debris, then vaccumed it out.

AD 5-8 #12

I repaired the cracks in the kiln wash on the bottom of the kiln.

AD 5-8 #13

Then I thought, why not? and loaded the kiln up. Since this is a second firing, it will go pretty quickly – about 6 hours – and I figured since it was only lunchtime I could do a firing and it would not finish too late in the evening. I don’t have to turn the kiln off, it does it on its own, but I want to know when it is finished.

The load is not crowded at all. That’s because I’m not doing any big tiles this time. I set the controls and tomorrow evening I’ll be able to open it and see how things went.

Wednesday, May 9 – I opened the kiln and I was thrilled. I don’t say that very often about my work, but this time I felt the kiln had done an extra nice job. I am really happy with the colors – so brilliant and rich.

OK, I’ll give you an array of photos showing the kiln, the unloaded work, and some details. I will be doing a post on the various items in more detail later on (I didn’t have time for taking nice photos today) but here you can see how things went.

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Well, that was a nice end to my latest clay work projects. The rest of the afternoon, I gessoed some more black panels:

AD 5-9 #13

finished up those small tree portraits:

AD 5-9 #14

and prepared the rest of the ATC-sized Claybord surfaces for…something. I decided to start off with blue. That does not mean things will stay blue. Oh no.

AD 5-9 #15

Friday, May 11 – I have assigned myself an art task today that I don’t much like – photographing my art. All that clay needs to be documented (I love record-keeping, just saying…) and I can’t put it all away until I’ve finished all the tasks that go with the process. There is a business side to things, so to speak.

I got out my camera and went to my studio for the photo session. I had done the tiles earlier in the week – that’s easy. Just lay them on a white surface and point the camera.

Clay tile small people 5-18 4 x 2

The figurines and animals, though, are full of trouble for me. I’m not a great artwork photographer to start with and I don’t have the kind of lighting and so on that makes the art look its best. That’s ok, I just want a reasonable picture for my records.

For this kind of thing, I usually set up two white pieces of matboard or canvas to make a little environment.

AD 5-11 #1

Sometimes I do it outside but today it was too windy, and the set up blew around. So I went back inside. One by one I put the items up on stage. Here is where questions come in for me. How many views? What angles? Oh dear, this is my favorite part of this particular piece, I must get a shot of it. How to photograph an animal looking up at you? Tiles just do not cause this kind of trouble.

I took a lot of shots. Thank goodness for digital cameras vs. film. I would be bankrupt with a film camera.

I’ll show a few results, but I plan to do some posts devoted to these items later on, with a full array of shots.

Now that I have finished this task, I am relieved. I will set these items in the cabinet in my studio with earlier work. This is where I keep them, so that I can see them, and if anyone comes by and takes a liking to one or more, I can hand it right over.

AD 5-11 #2

Now, I’ll tell you what I am thinking. It’s a beautiful day and I see that the softball team over at the high school (across the street) is warming up for a game. This computer work has given me a desire to get outside and away from tedium. So I think might walk over and watch the game for a while. I’m going to post this week’s Diary now and if I do anything else today, well…I’ll add it to tomorrow.

Thanks for reading, as always.

OK, that’s it for this week! Thank you for coming along with me.

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Art Diary 2018 – Week Ending April 27

Art Diary. A weekly wrap-up of art activities. For earlier posts, search under the category Art Diary.

Art is in the details. Be ready, this week there is a lot of clay talk!

Saturday, April 21 – I decided to load the kiln and fire it. Now, you’ve seen a kiln loaded with tiles. That’s relatively simple – all the objects are similar and they are easy to fit in around each other. Here’s a photo of a layout of tiles only, from a past firing:

AD Kiln Level 1 2-10-18014

This load today is different – it combines tiles and objects. I had to consider how to place them in the kiln so as to fit them in and to fire them safely.

Remember, the kiln is just an empty interior on its own, and in each load, I take the shelves and stilts and build a custom arrangement depending on the items to be fired. I need to take into account the heights of objects, airflow, and expansion.

Also, I haven’t fired objects in a while and my guesstimating skills may be rusty. Well, nothing to do but get to it. I looked over my array of items to be fired and came up with a plan.

I decided to lay out tiles in the bottom layer. Remember, I can stack the tiles because there is no glaze on them to stick them together, but I don’t like to go too high, because the objects expand when hot and the more in a pile, the more chance for misshaping and explosions.

I placed my clay “rocks” in this layer (small blobs in groups at the edges). They are thick and may explode – I hoped to limit the damage they could cause if they do. The tiles will not be hurt but a sculpture might be.

I also fit some small objects in this level – they can go there as long as they are shorter than the stilts.

AD 4-21 #1010

So far so good. Next layer: more tiles.

AD 4-21 #2009

And here is a shot of the electrical elements that are what make the kiln…HOT.

AD 4-21 #3008

Next, for layer #3, I placed a whole shelf, believing that my sculptures were short enough to fit the space. They need to be at least 1″ below the closed lid. I should have taken the tallest one first and checked, but no. I put most of the others on the shelves before I got to the tallest one and… bad news. Too tall.

Now I needed to unload this shelf #3; remove the whole shelf from the kiln; unload half of shelf #2; replace the whole shelf with a half shelf.

I’ll interject here that the clay items are dry and extremely fragile. You need to hold each one firmly but gently. Nothing can be picked up by the edges (as you would a plate, say – no, don’t do that). Two hands are needed for handling any object.

You need to think before you even move to place any item (you’d be surprised how often you clunk things into another thing, which is fine if it is two plastic tubs but very bad for two greenware bowls.

And a few more things…No setting pieces down hard. No pushing them on the shelf to adjust them (pick it back up. With two hands). No hurrying. Repeat that – no hurrying.

And my cardinal rule – touch each object one time – bring it to the kiln and place it – do not move it again.

So you can see my kiln-loading skills were a little rusty! It irked me to have to re-load things. I kind of pride myself on loading an efficient kiln in one try.

But. I persevered. First, I re-loaded the sculptures in the open half of shelf two.

AD 4-21 #6005

Then I added the half shelf for level #3 and filled it. I used the tallest stilts I have so that when I put on the next level, there would be room for the sculptures that needed to fit under it.

AD 4-21 #7004

I added another half shelf to make level #4 and put the remaining tiles on it. There is plenty of room for them under the closed lid.

AD 4-21 #8003

Success! Fire us up, say these figurines.

AD 4-21 #9002

Well, despite the re-load, I count this session a success, as everything made it to the kiln and in place, no breakages. (I have knocked heads off figurines, cracked or crumbled tiles, and broken bowls by grabbing them on the rim, not to mention just flat out squeezing a piece too hard, in this stage, so I mean it when I say getting a kiln loaded and full calls for a sigh of relief). I set the kiln to fire to cone 06, about 1860 degrees. Since this is a bisque load, a first firing, it will take about 9 hours.

This process illustrates something my friend Anna told me when I began doing clay: Don’t fall in love with your pieces until they are finished. Very true. Otherwise there would be heartbreak in every kiln load…

The rest of Saturday art was spent cleaning the studio and reviewing the possibilities – what will I work on next? I put new paper on the work tables and laid out things I’ve got in process. I checked my paint inventory and mostly just puttered around.

AD 4-21 #10001

Sunday, April 22 – I am sure you are waiting with bated breath for the results of the kiln firing. I can tell you it took 9 hours 35 minutes and that we opned the kiln today about lunchtime – it finished up at about 7:30 last night – and the items were still too hot to handle, but viewable.

Everything in sight looked good and I saw no evidence of shards of clay (which would indicate something blew up). Success! Here are photos when I unloaded it later in the day.

Compare these photos in particular and note the change in the color of the clays.

I took everything back down to the basement and arranged it by category – it helps me to see what my work process should be when applying color.

I also noticed that I cannot put off cleaning the kiln and the shelves any longer. I’ve been allowing things to go along as they are since the weather has been cold and I need to do some of the work outside. First of all, I need to scrape the shelves and reapply kiln wash. You can see the cracks and bubbles in the current coat.

AD 4-22 #3006

What is kiln wash and why do the shelves need it? Kiln wash is a substance applied to the shelves so that if the glaze on an item runs on to the shelf (remember, I am talking about liquid glass, essentially), the fired item can be lifted off (taking the kiln wash with it) rather than becoming glued to the shelf, ruining both item and shelf. (Then you’ve got to get that ugly white remnant off your item, but that’s another story.  Find your dremel, for starters).

My work doesn’t stick to the shelves since I use usually apply underglazes only and don’t add glaze, but I still need the shelves to be ready for glaze in case I do. Some people have sets of shelves they use only for non-glazed items and kiln wash is not necessary, but I’m not that big-time enough to do this.

When the shelves start to flake, the flakes can fall on the work. Even if it is not glazed, flakes can sometimes stick. Ugh. So I need to get to work. I will take the shelves into the back yard and scrape the old layers off and apply new wash. I will show you this process when I do it.

Also – I really need to take out the bottom shelf and vacuum the kiln. You can see kiln wash flakes galore as well as glaze splatters built up on the kiln floor. The latter is not a problem but those flakes once again can fly around and aggravate.

AD 4-22 #5004

Monday, April 23 – Today was a day for moving some projects forward and for just having some fun.

I took the first steps in applying color to my clay figurines. I am focusing on their faces, which will be more plain as opposed to the wild colors I want to put on the rest of their bodies. I used a technique of washing underglaze that accents the details and leaves large plain surfaces alone. I’ve used it in the past for relief tiles and it has this kind of effect, seen in a tile I made in 2014:

three white tiles 1-14

First I painted black underglaze on the areas I wanted to color:

I let things dry for a short time. Not good to wait too long as it gets harder to wash off the underglaze.

Then, I set the faucet to a trickle of water, grabbed a rag, and wet the black area on each item, working one at a time. I scrubbed at the face; the color is removed from the raised surfaces and stays in the grooves. Note: you may be tempted to use your fingers rather than the rag. Don’t. Or your fingers will be angry at you, yes, they will. That rough clay abrades skin pretty fast…

You can see that this technique is perfect for textured surfaces. I used it exclusively for my relief tile and sculptural work for many years and I’ll do it again if I make that style of clay art. For now, though, these current pieces have a lot of smooth surfaces, and that is because I want to add interest through painted-on pattern and color.

I set these items aside. They are ready to be worked on in colors, now.

Otherwise, I painted the edges of the two larger paintings, done recently, in their traditional black:

AD 4-23 #10003

And, I did some more of those little ATC-sized paintings on claybord that I’ve mentioned earlier. I put random colors on – then I inked in outlines of the shapes that ocurred to me. People again, it looks like. I’m not sure what will be the next step. We’ll just have to let them tell me.

Tuesday, April 24 – I did not have much energy for art today, being busy with a lot of other things that have left me feeling more like sitting down with a book (which I did do). In this kind of mood, it is a mistake to take on anything of much importance. So I looked over the small portraits from yesterday. I decided to paint the backgrounds gray; I added a few more details in ink; and I painted over one of the images because I just did not like it.

That’s ok, it can join this group of panels I painted in plain colors, ready for more later on.

AD 4-24 #2004

I forgot to mention these items yesterday.

AD 4-24 #3003

If you follow my poetry blog, you may remember that I have cut out random phrases that appealed to me and glued them on to cards – they give me ideas for poems.

Montco 2-1-18 card001

I had accumulated a group. Now I have “enhanced” them – not really interested in the words as words but as print, and the little strips as texture. Don’t know what I’ll do with them – I put them aside for later.

Wednesday, April 25 – I’m on the tired side today – I’ve started back to running now that I can get outside and between that and my body combat classes at the Y – don’t laugh – I’m feeling it – plus I did a lot of poetry editing today. So I just zipped to the basement to get some clay items ready for a session, probably Friday.

I took one of each kind of object – cylinder person, rectangle person, and animal – plus some tiles. I painted Jet Black Velvet underglaze (Velvet is the brand name) in areas where I want to apply color. Like my tiles, I want to be able to scratch through for black lines. Plus, I like a black background for the bright colors and designs I have in mind.

I did leave showing some of the natural color of the clays on the objects.

We’ll see what develops with these figurines and tiles.

AD 4-25 #4004

After I finished with the clay, I buzzed through my studio to clean some brushes from yesterday (oops, forgot them). And looked over this “artwork”. Really, it’s a piece of Bristol board I used as a drop cloth, then I doodled on it with India ink, then more drop cloth. It’s shaping up nicely as a found art object, or…as a useful drop cloth! Anyway, I thought it might make you laugh at how things occur in my studio.

AD 4-25 #3001

Friday, April 27 – Before I start on what I did today, let me show you some TV-time work I did a couple of days ago. I had painted a whole sheet of Bristol board with India ink (because I had messed up something I was working on and had to black it out…) I cut it into ATC-sized cards and then I drew on them in a white gel pen. I will use these for something later on, I think. But it was fun to do.

OK, today’s work. I went down to the basement to work on clay. You saw the prepared pieces. Now, I am used to painting tiles, and they lie there nice and flat, no need to worry about colors running. Not so with these objects. I’m out of practice.

I decided to work on them by laying them flat.

That worked pretty well. The little animal was the least cooperative, but he ended up ok. I think he’s done.

Cylinder man is almost finished. I have made his front less busy on purpose, so as not to compete with his face:

AD 4-27 #18003

but his back is getting a lot of action.

AD 4-27 #19002

Back to the tall guy. Now, there is always a section of any large piece I do where I go off the rails, and I can always tell, because then I get anxious about it, and I start trying to fix it up, and it gets uglier. With this fellow I had done a section I KNEW was not ok, but – I plowed ahead. Ugh. Finally I resorted to washing it off. Which was tricky, because so much of the figure had been covered. Note to self: stop and repair as soon as you get that feeling things are not right…

I did a pretty good job of protecting the parts I liked. The front is fine:

AD 4-27 #13008

The area I washed off is on this side. I have re-covered the section with Jet Black.

AD 4-27 #14007

This side will need some touching and changing, but it’s pretty much ok. The black area on this side had not yet been colored, as a note.

AD 4-27 #15006

Tomorrow things will have dried and be ready for more color to get things back on track. While I was working on these objects, I was also doing some tiles:

AD 4-27 #20001

I feel happy about the way all of these items are shaping up, despite the detour.

OK, that’s it for this week! Thank you for coming along with me.

Results Are In – Part 4

I have been working on a group of hand-built bowls and plates for some time. I’ve fired them with their colors and I’ve spent several posts going over the results. This is the last of the series.

Here are earlier posts in the series, if you want to take a look back. They are listed in reverse order; read from the bottom up if you want to go in order.

Results Are In – Part 3

Results Are In – Part 2

Results Are In – Part 1

Kiln Time for the Bowls and Plates

Update on the Hand-Built Bowl Project

Bowls and Plates – Update

The Future Holds a Secret

I’m taking you on a side trip into the world of the kiln. I thought I’d show you the inner workings of this process.

 

The kiln…

 

Every load of clay work to be fired is different – tiles, objects, vessels, sculptures – and the kiln needs to be flexible to handle it. This is accomplished by the design of the kiln and its “furniture”, or the items that hold the clay work in the kiln.

I’ve got a simple layout here – I just use shelves and stilts. Shelves come in whole or half sizes and the stilts are the supports. Every time I load the kiln, I need to figure out the way to arrange everything so as to get the most use out of the firing yet with every item having the space it needs.

I start at the bottom and work up, having looked over my assortment of work to go in. In a bisque, or first, firing, I can stack items; in glaze firings the items must not touch each other. The pieces all need room to expand a little during the firing and the lid should be at least an inch above everything inside.

It’s something you learn to do as you gain experience, how to make the most of your space. I enjoy the challenge of it.

All right. These are photos of the recent bowl and plate firing. I took the photos as I unloaded the kiln, so you are seeing fired work. But, voila! I reverse the order of the photos and you can follow along the process of how I got the kiln filled. I start at the bottom, level 4, and work my way up.

I was pretty happy with this load – I got all the work in by using two half shelves side by side, slightly offset. Usually these shelves stack above each other, so that taller items can go beside them and smaller ones filling the shelves (think Rapunzel tower vs plates).

Well, that is about it for the handbuilt bowls and plates story. I think I will turn my attention to other media for a while. I feel happy with the outcome of my clay work, but I also am ready to think in another language, so to speak, for a while. Thank you for following along with me.

Results Are In – Part 3

I have been working on a group of hand-built bowls and plates for some time. I’ve fired them with their colors and I’ll spend the next few posts going over the results. Here are earlier posts in the series, if you want to take a look back. They are listed in reverse order; read from the bottom up if you want to go in order.

Results Are In – Part 2

Results Are In – Part 1

Kiln Time for the Bowls and Plates

Update on the Hand-Built Bowl Project

Bowls and Plates – Update

The Future Holds a Secret

Today we move on to plates. All of them came out well, and I’m satisfied with the results. I’ve arranged them with their pre-firing selves, so that you can see the difference a couple of thousand degrees can make to a plate…

Results Are In – Part 2

I have been working on a group of hand-built bowls and plates for some time. I’ve fired them with their colors and I’ll spend the next few posts going over the results. Here are earlier posts in the series, if you want to take a look back. They are listed in reverse order; read from the bottom up if you want to go in order.

Results Are In – Part 1

Kiln Time for the Bowls and Plates

Update on the Hand-Built Bowl Project

Bowls and Plates – Update

The Future Holds a Secret

Now I’ll show you the small bowls I made. All of them involved the use of wax resist.

And then there was the one bowl that didn’t please me. I had the feeling even before the firing that I wasn’t going to be happy. And I haven’t changed my mind. Once again, I think the white spots look too unfinished. And I don’t like that messy jumble at the bottom. So, I’ll do a little fixing-up and then fire the bowl again later on.

Last, here is the tray. Simple and easy. You may remember I taped off sections and applied the underglaze, then removed the tape. This is just another resist method, with the tape keeping the color back. The tape did not adhere tightly to the clay and so that is why the edges are feathery and blobby. I liked the effect.

OK, that is enough for today.

Results Are In – Part 1

I have been working on a group of hand-built bowls and plates for some time. I’ve fired them with their colors and I’ll spend the next few posts going over the results. Here are earlier posts in the series, if you want to take a look back. They are listed in reverse order; read from the bottom up if you want to go in order.

Kiln Time for the Bowls and Plates
Update on the Hand-Built Bowl Project
Bowls and Plates – Update
The Future Holds a Secret

I took the bowls and plates out of the kiln. If you remember, they were in for the firing of their underglaze colors. I fired at cone 06, since I am using lowfire white and terracotta clay. No disasters and no huge failures. I breathed a sigh of relief.

I have also come to a decision. Though these are all “functional” objects, I’ve decided not to glaze them. I don’t like the look of my work when it’s glazed – the shine detracts from the intricacy and seems to hide or obscure the details. I just don’t like it, and I’ve been dreading the glazing step all along for this reason.

By skipping this step, it means these items are not food-safe, can’t be washed in the dishwasher, and so on. Well, I just don’t care. I didn’t make them for the public and I don’t mean to sell them at a show. If I let them go, it will be with written instructions along the lines I just mentioned. To me, I guess these items are “sculptures” rather than something to stack your potato salad into for a family dinner.

That means that these pieces are all finished now. What you see is what they are!

First, I’ll show you the large bowls that were made without wax resist being involved. I have a picture of each one from the top, showing the interior design, and then a side view.

Next, I’ll show you the bowls that were included the wax resist – first, the unfired bowl with resist in place, then the fired results. You may be surprised at what emerged.

And here is one bowl that didn’t satisfy me. The white dots are too much contrast for the rest of the design, I think, and too plain. Not to mention the dislike I have for that irregular blob – what happened there? I believe I will give the spots some kind of detail and fire the bowl again in a later load.

OK, I think that is enough for today.

Kiln Time for the Bowls and Plates

I loaded up the kiln and did the firing on Wednesday, May 10. Before I say more, let me show you the last pieces I worked on before the firing – two plates and a tray-like thing. Here are the plates:

And here is the tray-thing. I’ve made lots of these in the past – the form I use is the Styrofoam tray that meats are packed on for sale at the grocery store, you know, with the plastic wrap on top? They make great small-sized trays or shallow dishes. I used tape on this one to mask off sections and then I spatter painted.

Now, I will introduce you to the kiln. It sits in my garage.

It’s a medium-sized electric kiln and good for home use. I don’t have to wait long to make enough work to fill it for a firing. It’s computerized in its controls and that means I just set the parameters and it does the rest.

Some clay artists like to individualize their firing procedures but I just use the basic programs and that works fine for me.

As for this firing, after 1.5 hours the temperature had risen quite a bit, almost 800 degree F. I am firing to cone 06, considered a low-fire temperature, of about 1850 degrees F. This temperature is what earthenware work is fired to; stoneware clay is done to a higher range.

When the firing is done, the control panel blinks out three messages:

I leave the kiln ALONE and never ever think of raising the lid at this point. For one thing, it will cause injury to me to do so. Secondly, the clay inside can’t take the abrupt lowering of temperature that opening the lid would mean – it could shatter or crack. Patience is needed. A couple of hours after the power has gone off, the kiln is still very hot:

At this point I turned the switch off and pulled out the power plug from the wall. Now, the thing to do is wait until the next day.

I did wait, and I’ve opened the lid and see the inside, but have not had time to unload it. I can tell nothing has exploded or broken, so that is good. I’ll get everything out and take pictures, and then you’ll be able to see the results.

Opening a kiln is the most exciting thing and I think all clay artists will tell you the same thing. The surprise – the drama – the happiness of success – or the sad feeling of “What happened?”

Previous post with more information:

Update on the Hand Built Bowl Project