Eleanora Eden on wed 6 nov 96
Hi All,
Well I'll just jump in here. I have three lids on my L&L, th one it came
with, the new one underneath, and a kaowool-board one. When the kiln is
done I remove two of them so the kiln can cool. I also use strips of
kaowool between the lip and the lid to make a nice even seal. You put
more insulation in the roof of your house than the walls, right? Makes
sense to me. I also wrapped the whole thing in kaowool when I got it
about 8 years ago and then wrapped that in tin foil and bound the whole
thing in duck tape. I know there has been controversy about that but it
keeps the studio in the reasonable temp range and the kiln doesn't seem
to be rusting away or anything.
Also have been meaning to mention that recently I stopped raising the
temp level on #3 level (one up from bottom) above the LO setting and
only raise #2 level about halfway. And suddenly my kiln is firing
perfectly evenly every time. So if your middle levels are always surging
ahead give it a try. Should mention that I use one of those vacuum
things that draws the heat down.
Hope that helps.
Eleanora
Eleanora Eden 802 869-2003
Paradise Hill
Bellows Falls, VT 05101 eden@maple.sover.net
LINDA BLOSSOM on thu 7 nov 96
Dear Eleanora,
It sounds like you insulated your kiln similar to mine. However, did you
put the insulation over the outer metal wall? I actually removed the wall,
mortared the insulation to the brick and replaced the wall. I too add
insulation to the top and even placed it on insulating brick over a hard
brick bed and a few hard brick with the soft brick for support. Hard as
heck to cool but goes up easily and saves a lot of kilowatts.
Linda Blossom
2366 Slaterville Rd.
Ithaca, NY 14850
blossom@lightlink.com
http://www.artscape.com
607-539-7912
Eleanora Eden on sat 9 nov 96
Hi Linda and All,
I went and took a good look at the kiln after my post. There is a layer
of window screen over the kaowool and tin foil layers. No I didn't
remove the metal. But we did remove the switch panel and re-attach it
using longer sheetrock screws. The deal here is that the switch panel
must be kept cool. We also added a little cooling fan into the switch
panel with a toggle switch and a light so you know when it is on.
Eleanora
Eleanora Eden 802 869-2003
Paradise Hill
Bellows Falls, VT 05101 eden@maple.sover.net
[the address fga@world.std.com is temporary. My mailbox at
eden@maple.sover.net still works -- do not change address books]
Susan Davy on tue 16 sep 97
I am looking for a home-made mixture for insulating the outside of a
low-fire salt kiln (hard brick construction, catinary arch). The kiln
was built 12 years ago and I have lost the old recipe....seems that it
was vermiculite, cement, fireclay....is that right, and in what
proportions? I remember mixing it fairly stiff, in a five gallon bucket
and just scooped it on to the out side of the kiln, about 2 1/2 " thick,
and patted it smooth.
thanks in advance
Susan Davy
pottery@minot.com
Gavin Stairs on sun 18 aug 02
At 01:57 PM 18/08/2002 -0400, John Hesselberth wrote off list:
>In your recent posts are you really talking about steady-state instead of
>equilibrium? I've been stumbling over the word 'equilibrium' every time
>you use it asking myself--does he really mean equilibrium??
Hi John, I'm sending this to the list so anyone with the same question can
get my answer.
The equilibrium I am speaking to is the thermodynamic equilibrium, the
kinetic state in which heat into a system is equal to heat out. In a
heating kiln, instantaneous heat flow in and out of the system is not in
equilibrium. Because of heat capacity effects, the heat into the kiln is
only equal to the heat out when each part of the kiln is in thermal
equilibrium, which is the end result of the heating of a kiln with constant
inputs. The heat flow at this point is steady state, that is, it is
invariant with time. This equilibrium is a more general statement than
simply saying we are considering the kiln at steady state since we are
accounting for all the effects of the heating history, as well as the end
state.
Steady state is a term related to the equations of state respecting a
system in thermal equilibrium, which are not time variant, and therefore
much simpler than the time variant equations. So this usage refers to
which calculation scheme you wish to use, rather than what the system
behavior is. Most simple kiln calculation programs use steady state
relations, which is a serious limitation on their utility. I've been
toying with the idea of writing a more realistic calculator for potters,
but I don't know that there are enough potters around who would understand
how to use such a thing to justify the effort.
This is probably much too much of a technical discussion for most of the
list to want to know about, but it does illustrate the dynamics of heating
a kiln. It's actually a simple thing in the abstract, but quite complex in
the practical case.
All the best to you, Gavin
Judy Musicant on sat 9 apr 05
There have been a flurry of posts in the last few days assuming that =
more is better where insulation of an electric kiln is concerned. I'm =
here to suggest it isn't necessarily true for everyone. I've posted =
before - pretty recently, in fact, about my experience with a Bailey =
top-loader, 7 cubic feet, that I purchased largely because of posts on =
Clayart proclaiming that more insulation is better. I was terribly =
disappointed when my cone 5-6 glazes didn't come out nearly as well in =
that kiln as they had been in my little Skutt 818 with much less =
insulation (not to mention even faster cooling since the Skutt was so =
much smaller). After struggling for a couple of years trying to make =
my glazes work with the Bailey, I gave up and bought a Skutt 1027 - =
without the extra insulation offered in that model. I am a happy camper =
again. Obviously, I'm talking about my particular case. If I had =
chosen to work up a whole different glaze palette, I'm sure I would have =
been happy with my Bailey. =20
But here's another point. Could it be that a less well insulated kiln =
might have an advantage over better insulated models? What I mean is =
that with the less insulated kilns, you can get a slow cool by =
programming it in, or in manual models by simply turning the kiln down =
slowly. Or, if you want a fast cool, you get that much more easily =
than with the more insulated babies. You just don't have that option =
with more insulation.
In any event, I'm just suggesting that assuming that more insulation is =
always better isn't accurate. And if some of you guys out there have =
been getting good results with your less insulated kilns, don't assume =
your results will be even better with more insulation.
Speaking from experience,
Judy Musicant
pottersGuildNJ.org
Michael Wendt on sun 10 apr 05
Judy raised a good point about the cooling rate of a kiln affecting the
quality of finish on a glaze. My gas kiln runs like a rocket because the
walls are double thick so I crash cool it by leaving the damper bricks open
a bit after cone ten drops. If I don't, the extra insulation can result in a
bit of additional running in fluid glazes.
The main reason to add insulation to an electric kiln too is to reduce heat
losses during the power stage of firing.
Once you reach cone, if you want a certain effect that you got with the
older, less insulated kiln, leave the kiln vent on until the kiln cools
below the solidification point of the glaze, then shut it off and allow it
to cool at its own rate. The extra insulation simply reduces lost heat
during the heatup stage and in this way, saves you money,
If you want a long slow cool down for mattes or crystals, extra insulation
can help here too by making the after firing reheat cost less for the hours
that are needed to grow great crystals.
Regards,
Michael Wendt
Wendt Pottery
2729 Clearwater Ave
Lewiston, Idaho 83501
USA
wendtpot@lewiston.com
www.wendtpottery.com
Judy wrote:
But here's another point. Could it be that a less well insulated kiln might
have an advantage over better insulated models? What I mean is that with
the less insulated kilns, you can get a slow cool by programming it in, or
in manual models by simply turning the kiln down slowly. Or, if you want a
fast cool, you get that much more easily than with the more insulated
babies. You just don't have that option with more insulation.
Judy Musicant on tue 5 jul 05
Vince wrote "That said, I do agree that 2 1/2" of IFB should NEVER be =
considered enough
insulation in a kiln, and that a large amount of heat is wasted in those
kilns, especially when they are fired to cone 6."
There have been many discussions along these lines, denigrating the less =
insulated kilns, and categorically stating the more insulation the =
better. =20
I've posted this before, but I'm compelled to repeat, IT ALL DEPENDS. =
I suppose if I were just starting out, I'd get the most insulated kiln I =
could find, and develop glazes that work with such a kiln. But I =
started 25 years ago, with a Skutt 818 with 2 1/2" insulation. I've =
gotten consistently wonderful results from that kiln (still firing it). =
I fire to hard cone 5, soft cone 6 in 8-9 hours. I got a Cone Art a few =
years ago, because of the hew and cry over more insulation. My glazes =
looked ugly, ugly, ugly because of the slower cooling. I sold it and =
bought a Skutt 1027 with the mere 2 1/2" insulation, and I'm happy =
again. Maybe I could have spent the time developing a whole new palate =
of glazes. Maybe I'm wasting some energy (Question - Are you using =
more energy if you reach cone 5-6 in 8-9 hours with a 2 1/2" insulated =
kiln, than if you reach cone 5-6 in the same amount of time with a 3" =
insulated kiln?). In any event, I don't want to take several years to =
develop a whole new palatte of glazes that work well with a more heavily =
insulated kiln. Life is too short.
Regards,
Judy Musicant
pottersguildnj.org
Michael Wendt on wed 6 jul 05
Judy raised an important point about the insulation issue.
If you have a process that works for you, changing the insulation value of
your kiln will have an effect.
Recognizing that, I recommend that you buy or borrow a digital pyrometer and
do several loads while recording your time-temperature values so that when
you alter the insulation, you can slow the rise rate to match the old
heating rate that worked for you.
To get the same cooling rate, install a vent fan and drill a series of 1/8"
holes in the lid. be sure to run a top shelf so that the cold air jets don't
hit the pots beneath them directly.
Cover or plug some of the holes if the kiln cools too fast. Drill more holes
if the kiln cools too slowly. If the top looks right but the bottom is bad,
it may require the addition of a few cooling holes in the sides as well but
be careful where you place them so that they don't direct cold air onto pot
surfaces.
Clearly, every change we make has some unforeseen consequences, but the
energy savings over the years will make the tweaking worthwhile and pay in
the long run.
Regards,
Michael Wendt
Wendt Pottery
2729 Clearwater Ave
Lewiston, Idaho 83501
USA
wendtpot@lewiston.com
www.wendtpottery.com
Judy wrote:
There have been many discussions along these lines, denigrating the less
insulated kilns, and categorically stating the more insulation the better.
I've posted this before, but I'm compelled to repeat, IT ALL DEPENDS. I
suppose if I were just starting out, I'd get the most insulated kiln I could
find, and develop glazes that work with such a kiln. But I started 25 years
ago, with a Skutt 818 with 2 1/2" insulation. I've gotten consistently
wonderful results from that kiln (still firing it). I fire to hard cone 5,
soft cone 6 in 8-9 hours. I got a Cone Art a few years ago, because of the
hew and cry over more insulation. My glazes looked ugly, ugly, ugly because
of the slower cooling. I sold it and bought a Skutt 1027 with the mere 2
1/2" insulation, and I'm happy again. Maybe I could have spent the time
developing a whole new palate of glazes. Maybe I'm wasting some energy
(Question - Are you using more energy if you reach cone 5-6 in 8-9 hours
with a 2 1/2" insulated kiln, than if you reach cone 5-6 in the same amount
of time with a 3" insulated kiln?). In any event, I don't want to take
several years to develop a whole new palate of glazes that work well with a
more heavily insulated kiln. Life is too short.
Regards,
Judy Musicant
William & Susan Schran User on thu 7 jul 05
On 7/6/05 9:47 PM, "Mike Martino" wrote:
> This relates to the beginning of this thread which addressed quality vs.
> cost. The construction of this kiln is not unusual here in Japan, and
> electrics look similar. This kiln new would have run about $22,000 US,
> but I was lucky and they had one used.
The thread was more directed to electric kilns, as I would expect most folks
in the US have electrics.
How big/how many cu. ft. is this kiln you purchased? Given the costs of
pottery equipment in Japan vs USA, paying $22,000 does not seem out of line.
Just finished installing a 24 cu. Ft. Geil gas kiln at school. Also a well
built, well insulated kiln. Cost about $17,000 with vent hood. Only kiln
manufacturer with gas association certification that was required by the
Fire Marshall in the city where kiln is installed.
--
William "Bill" Schran
Fredericksburg, Virginia
Mike Martino on thu 7 jul 05
I just put up a picture of a kiln I bought recently, an example of a
very heavily insulated kiln.
My mentor has one from the same maker, it's almost 30 years old now and
you can stay in the room with it
if you want to (not that you'd want to anyway), because it gives off
VERY little heat. Still looks like almost new on the inside, though the
outside is rusty.
This relates to the beginning of this thread which addressed quality vs.
cost. The construction of this kiln is not unusual here in Japan, and
electrics look similar. This kiln new would have run about $22,000 US,
but I was lucky and they had one used. Got it for a fraction of that. I
can't imagine many folks being able to pay 20,000+ for a new kiln no
matter how wonderfull it may be, even taking into account that the cost
in the long term is very economical.
Link at: http://karatsupots.blogspot.com/
Click on the pic for larger image
Peace,
Mike
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
mike martino
in taku, japan
muchimi@potteryofjapan.com
www.potteryofjapan.com
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Michael
Wendt
Sent: Thursday, July 07, 2005 2:25 AM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: Kiln insulation
Judy raised an important point about the insulation issue.
If you have a process that works for you, changing the insulation value
of your kiln will have an effect. Recognizing that, I recommend that you
buy or borrow a digital pyrometer and do several loads while recording
your time-temperature values so that when you alter the insulation, you
can slow the rise rate to match the old heating rate that worked for
you. To get the same cooling rate, install a vent fan and drill a series
of 1/8" holes in the lid. be sure to run a top shelf so that the cold
air jets don't hit the pots beneath them directly. Cover or plug some of
the holes if the kiln cools too fast. Drill more holes if the kiln cools
too slowly. If the top looks right but the bottom is bad, it may require
the addition of a few cooling holes in the sides as well but be careful
where you place them so that they don't direct cold air onto pot
surfaces. Clearly, every change we make has some unforeseen
consequences, but the energy savings over the years will make the
tweaking worthwhile and pay in the long run. Regards, Michael Wendt
Wendt Pottery 2729 Clearwater Ave Lewiston, Idaho 83501 USA
wendtpot@lewiston.com www.wendtpottery.com Judy wrote: There have been
many discussions along these lines, denigrating the less insulated
kilns, and categorically stating the more insulation the better.
I've posted this before, but I'm compelled to repeat, IT ALL DEPENDS.
I
suppose if I were just starting out, I'd get the most insulated kiln I
could find, and develop glazes that work with such a kiln. But I
started 25 years ago, with a Skutt 818 with 2 1/2" insulation. I've
gotten consistently wonderful results from that kiln (still firing it).
I fire to hard cone 5, soft cone 6 in 8-9 hours. I got a Cone Art a few
years ago, because of the hew and cry over more insulation. My glazes
looked ugly, ugly, ugly because of the slower cooling. I sold it and
bought a Skutt 1027 with the mere 2 1/2" insulation, and I'm happy
again. Maybe I could have spent the time developing a whole new palate
of glazes. Maybe I'm wasting some energy (Question - Are you using more
energy if you reach cone 5-6 in 8-9 hours with a 2 1/2" insulated kiln,
than if you reach cone 5-6 in the same amount of time with a 3"
insulated kiln?). In any event, I don't want to take several years to
develop a whole new palate of glazes that work well with a more heavily
insulated kiln. Life is too short.
Regards,
Judy Musicant
________________________________________________________________________
______
Send postings to clayart@lsv.ceramics.org
You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/
Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
Mike Martino on fri 8 jul 05
I remember that this thread, whenever it comes up, seems to be talking
about electrics, but I couldn't find any good pics of electric kilns. An
acquaintence is an electric kiln maker in Arita,
http://www.kajiyamakougei.co.jp/catalog_industry/industry01.html
some of his kilns have roughly the same specs as the kiln shown on my
blog, and with prices in the same range or more.
One question: in the US, when a kiln is considered to be for example 24
sq ft, is this the internal dimension of the kiln or actual stacking
space? The kiln shown on my blog is about measured at 10 sq ft, which is
stacking space rather than internal dimensions.
Cheers,
Mike
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
mike martino
in taku, japan
muchimi@potteryofjapan.com
www.potteryofjapan.com
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of William &
Susan Schran User
Sent: Thursday, July 07, 2005 10:49 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: Kiln insulation
On 7/6/05 9:47 PM, "Mike Martino" wrote:
> This relates to the beginning of this thread which addressed quality
> vs. cost. The construction of this kiln is not unusual here in Japan,
> and electrics look similar. This kiln new would have run about
> $22,000 US, but I was lucky and they had one used.
The thread was more directed to electric kilns, as I would expect most
folks in the US have electrics.
How big/how many cu. ft. is this kiln you purchased? Given the costs of
pottery equipment in Japan vs USA, paying $22,000 does not seem out of
line.
Just finished installing a 24 cu. Ft. Geil gas kiln at school. Also a
well built, well insulated kiln. Cost about $17,000 with vent hood. Only
kiln manufacturer with gas association certification that was required
by the Fire Marshall in the city where kiln is installed.
--
William "Bill" Schran
Fredericksburg, Virginia
________________________________________________________________________
______
Send postings to clayart@lsv.ceramics.org
You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/
Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
Arnold Howard on fri 8 jul 05
From: "Mike Martino"
> One question: in the US, when a kiln is considered to be for example 24
> sq ft, is this the internal dimension of the kiln or actual stacking
> space?
The internal cubic feet listed on the spec sheet of a commercial kiln is the
entire firing chamber from edge to edge.
Sincerely,
Arnold Howard
Paragon Industries, L.P., Mesquite, Texas USA
ahoward@paragonweb.com / www.paragonweb.com
William & Susan Schran User on fri 8 jul 05
On 7/8/05 8:55 AM, "Mike Martino" wrote:
> One question: in the US, when a kiln is considered to be for example 24
> sq ft, is this the internal dimension of the kiln or actual stacking
> space?
Mike - Depends on the manufacturer and how they list it. The Geil 24 cu. Ft,
we got is 24 cu. Ft. stacking.
A couple of years ago, I had a Japanese student that was married and living
in the US, but still had family in Japan. She would visit her family in
Japan each year and bring me a Japanese "how to" pottery magazine. When I
asked about subscribing, apparently I couldn't subscribe outside of Japan
and also found out it was $50 for 4 issues.
Anyway, I noted the ads for kilns and saw the elements are placed in a wave
like pattern rather than a straight line around the interior of the kiln and
wondered if this might lead to more even firings. I also noted that some
kilns are both electric and gas - a small gas burner I suppose to create
reduction. Have you seen these?
--
William "Bill" Schran
Fredericksburg, Virginia
William & Susan Schran User on sat 9 jul 05
On 7/8/05 7:55 PM, "Mike Martino" wrote:
> Anyway, with 9"+ thick walls and a thinner but high duty fiber/brick
> lid, he says the firing costs for his kilns are less than other makers,
> and monumentally less than something w/ 2 1/2" walls. Insists that over
> the life of the kiln this offsets initial cost enough to make it
> worthwile. I see his kilns all the time around here, and their owners
> swear by them.
Mike - Perhaps you should tell him to follow the Japanese car makers and
bring his kiln production over to this country. Tell him lots of potters are
looking for a well built, well insulated kiln.
--
William "Bill" Schran
Fredericksburg, Virginia
Lee Love on sat 9 jul 05
I asked May about Ken Matsuzaki's wheel at Aber and Jenny Lewis responded:
http://www.flickr.com/photos/21152566@N00/24013963/
Matsuzaki is trimming on a Korean Kickwheel and is using a
bamboo knife to trim a teabowl. The clay has to be pretty soft for
this kind of trimming.
Thanks Jenny!
--
Lee Love
in Mashiko, Japan http://mashiko.org
http://hankos.blogspot.com/ Visual Bookmarks
http://ikiru.blogspot.com/ Zen and Craft
"We are such stuff
As dreams are made on; and our little life
Is rounded with a sleep."
-- Prospero The Tempest
Shakespeare
Mike Martino on sat 9 jul 05
>Anyway, I noted the ads for kilns and saw the elements are placed in a
wave like pattern rather than a straight line around the
>interior of the kiln and wondered if this might lead to more even
firings. I also noted that some kilns are both electric and gas - a
>small gas burner I suppose to create reduction. Have you seen these?
Not having used electrics kilns for more than bisque, I don't really
know how the wire pattern changes things. I think the wire they use to
do it this way (at least the guy whose link I put in the last mail) is
much thicker than the 'spring' style that gets recessed into the kiln
walls. A friend of mine was building an electric bisque kiln using some
replacement wire for a Skutt, and it seemed awfully flimsy, less than
1mm thick. Mr. Kajiyama uses wire that I think is about 3.5-4mm in
diameter, very beefy. He includes a small propane burner with many of
his models for reduction. He says that the wire is heavy enough that
reducing doesn't damage it appreciably, but I imagine it's a question of
how much and how long.
Anyway, with 9"+ thick walls and a thinner but high duty fiber/brick
lid, he says the firing costs for his kilns are less than other makers,
and monumentally less than something w/ 2 1/2" walls. Insists that over
the life of the kiln this offsets initial cost enough to make it
worthwile. I see his kilns all the time around here, and their owners
swear by them.
Regards,
Mike
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
mike martino
in taku, japan
muchimi@potteryofjapan.com
www.potteryofjapan.com
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of William &
Susan Schran User
Sent: Saturday, July 09, 2005 3:12 AM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: Kiln insulation
On 7/8/05 8:55 AM, "Mike Martino" wrote:
> One question: in the US, when a kiln is considered to be for example
> 24 sq ft, is this the internal dimension of the kiln or actual
> stacking space?
Mike - Depends on the manufacturer and how they list it. The Geil 24 cu.
Ft, we got is 24 cu. Ft. stacking.
A couple of years ago, I had a Japanese student that was married and
living in the US, but still had family in Japan. She would visit her
family in Japan each year and bring me a Japanese "how to" pottery
magazine. When I asked about subscribing, apparently I couldn't
subscribe outside of Japan and also found out it was $50 for 4 issues.
Anyway, I noted the ads for kilns and saw the elements are placed in a
wave like pattern rather than a straight line around the interior of the
kiln and wondered if this might lead to more even firings. I also noted
that some kilns are both electric and gas - a small gas burner I suppose
to create reduction. Have you seen these?
--
William "Bill" Schran
Fredericksburg, Virginia
________________________________________________________________________
______
Send postings to clayart@lsv.ceramics.org
You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/
Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
Eleanor on sun 10 may 09
I have a Skutt 1027KM-3 --- 3 inch walls. I fire to ^6 and slow cool
all my glaze firings. My kiln is not vented; it's in my garage and I
use a powerful exhaust fan---I smell fumes in my driveway but not in
my house. I plug all the peepholes. The kiln is fully packed for each
firing. I don't fire often--I'm a dabbler.
Firing, starting at about 7 AM, is usually done by 7 PM. By 4 PM the
following day the kiln is cool enough to open, about 300 degrees F,
depending on the outside temperature.
While the kiln is firing I can see light from the elements coming
through spaces between the rings, between the top ring and the cover
and sometimes from a peephole if the plug isn't tight.
I have a small palette of glazes which work for me, mostly from M^6G,
some from other sources but results are not uniform: pinholes
sometimes; runs; no runs.
I want to take the best advantage of the slow cooling technique; I'm
suspicious that those chinks affect the results.
Skutt says the chinks are "normal". To me the kiln is a large oven;
I wouldn't bake my bread with the oven door ajar.............
If I am right what can I do to better insulate the kiln?
Eleanor Kohler
Centerport, NY
scored 39 on the color test--I thought I was better than that
".... philosophers lay down many precepts fair in argument but not
applicable in use"
--Sir Francis Bacon
William & Susan Schran User on sun 10 may 09
On 5/10/09 9:38 AM, "Eleanor" wrote:
> I want to take the best advantage of the slow cooling technique; I'm
> suspicious that those chinks affect the results.
> Skutt says the chinks are "normal". To me the kiln is a large oven;
> I wouldn't bake my bread with the oven door ajar.............
> If I am right what can I do to better insulate the kiln?
Yes, but with a caveat.
If the control boxes of the sections of your kiln plug into each other,
DON'T add anything between the sections as the plug/outlet may not be full=
y
engaged and may lead to electrical problems.
I have fiber blanket between the sections of my older L&L that has jumper
cords connecting things together. I need to remove top spy hole plug while
firing with vent on. My newer L&L has no fiber between sections as air is
drawn in through the slight gaps while firing with vent running.
Bill
--
William "Bill" Schran
wschran@cox.net
wschran@nvcc.edu
http://www.creativecreekartisans.com
Lili Krakowski on fri 11 may 12
Thank you One and All re: why one cannot better insulate the type of =3D
kiln many of us use.
That does beg the question of how rising electric costs will weigh in =3D
against the higher cost of better insulated/less transportable kilns
in the future. The cost of electricity is a real factor, it is going up =
=3D
and up, the economy is not roaring along right now, I would hate to see
potting being right up there with yachts and polo ponies as a luxury...
Lili Krakowski
Be of good courage
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