Kilns

Hi ,I am looking for a kiln to fuse,slump,cast,ect. There are so many
different ones out there and I am afraid of getting the wrong one and
being sorry I didn't get a different one, so any advise would be
helpful. I have been looking at the 1014 skirt with the glass-master
control and also the paragon.22 " front load,what does anyone think
about those two?
Suzi
;

wrote:
Hi ,I am looking for a kiln to fuse,slump,cast,ect. There are so many
different ones out there and I am afraid of getting the wrong one and
being sorry I didn't get a different one, so any advise would be
helpful. I have been looking at the 1014 skirt with the glass-master
control and also the paragon.22 " front load,what does anyone think
about those two?
Suzi
;

Tell us first what are you going to use the kiln for.
If you make jevelry your requirements are different of those
needed for fusing-slumping bowls not to mention casting solid pieces.

Tell us second if you are inclined to production work or one of the kind
pieces.

-lauri

On Jul 5, 11:37 pm, Lauri Levanto wrote:
wrote:
Hi ,I am looking for a kiln to fuse,slump,cast,ect. There are so many
different ones out there and I am afraid of getting the wrong one and
being sorry I didn't get a different one, so any advise would be
helpful. I have been looking at the 1014 skirt with the glass-master
control and also the paragon.22 " front load,what does anyone think
about those two?
Suzi
;

Tell us first what are you going to use the kiln for.
If you make jevelry your requirements are different of those
needed for fusing-slumping bowls not to mention casting solid pieces.

Tell us second if you are inclined to production work or one of the kind
pieces.

-lauri

Hi Lauri,I am not into jewerly.I want to be able to do custume work
some day in hopes of earning a few extra dollars.I would like to fuse
art pieces of fair size ,slump plates, drop ring cool vases,some day
even do sinks.I know that sounds ambicious for a beginner but I love
working with glass and want to branch out from stained glass a little.
Suzee

wrote:

On Jul 5, 11:37 pm, Lauri Levanto wrote:

wrote:

Hi ,I am looking for a kiln to fuse,slump,cast,ect. There are so many
different ones out there and I am afraid of getting the wrong one and
being sorry I didn't get a different one, so any advise would be
helpful. I have been looking at the 1014 skirt with the glass-master
control and also the paragon.22 " front load,what does anyone think
about those two?
Suzi
;

Tell us first what are you going to use the kiln for.
If you make jevelry your requirements are different of those
needed for fusing-slumping bowls not to mention casting solid pieces.

Tell us second if you are inclined to production work or one of the kind
pieces.

-lauri


Hi Lauri,I am not into jewerly.I want to be able to do custume work
some day in hopes of earning a few extra dollars.I would like to fuse
art pieces of fair size ,slump plates, drop ring cool vases,some day
even do sinks.I know that sounds ambicious for a beginner but I love
working with glass and want to branch out from stained glass a little.
Suzee


Get the largest kiln you can afford. A bell or top loader. I built a 3x5
a few years back but am regularly using a Denver 4x8 right now.

Jack

nJb wrote:
wrote:

On Jul 5, 11:37 pm, Lauri Levanto wrote:

wrote:

Hi ,I am looking for a kiln to fuse,slump,cast,ect. There are so many
different ones out there and I am afraid of getting the wrong one and
being sorry I didn't get a different one, so any advise would be
helpful. I have been looking at the 1014 skirt with the glass-master
control and also the paragon.22 " front load,what does anyone think
about those two?
Suzi
;

Tell us first what are you going to use the kiln for.
If you make jevelry your requirements are different of those
needed for fusing-slumping bowls not to mention casting solid pieces.

Tell us second if you are inclined to production work or one of the kind
pieces.

-lauri


Hi Lauri,I am not into jewerly.I want to be able to do custume work
some day in hopes of earning a few extra dollars.I would like to fuse
art pieces of fair size ,slump plates, drop ring cool vases,some day
even do sinks.I know that sounds ambicious for a beginner but I love
working with glass and want to branch out from stained glass a little.
Suzee


Get the largest kiln you can afford. A bell or top loader. I built a 3x5
a few years back but am regularly using a Denver 4x8 right now.

Jack

Thanks for the info. Art pieces of fair size? A round plate of 20" diam
is someting in a display. Some pieces may be rectangular. So a working
surface of 20"x32" might do?
Drop ring calls for 8" working height + 6" distance to top elements.

Mine is a bit smaller, It was limited by the fact that I could not get
more than 230V 3*16A electricity. calculate the cubic feets, I'll not
tease my mind with imperial units. Compare that to kiln brochures and
you get an idea what is feasible.

Jack gave the usual recommendation "bigger is better" but I do not
completely agree unless you plan production work. In artistic work you
want to do one piece at time not to compromise quality. Most pieces
will be smaller that the show cases above.
I hate to heat up that mass for a test piece of the size of a postcard.
Consider also a "starter" that can serve as a test kiln later on, when
you know more of the direction your works are going.
I would say the kiln must be big enough for 90 per cent of your projects.
The larger ones a re usually commissions and the you can afford to hire
kiln time somewhere.

I love my bell jar, as it has minimal heat radiation when I have to work
with open hot kiln. Clamshell is second in my opinion, before top loading.

A window costs but is worh every penny. Properly placed peep hole is
cheaper. You must see at least 1/3 of the working surface.

The factory made kilns are all workhorses. I cannot warn off of any
brand. The only caveat is brick lid. It tends to rain debris on the
glass. yes, a controller that you can understand. Free programmability,
no pre-set programs.

You want to get more confused? Please don't hesitate to ask.
-lauri

On Jul 7, 11:07 am, Lauri Levanto wrote:
nJb wrote:
wrote:

On Jul 5, 11:37 pm, Lauri Levanto wrote:

wrote:

Hi ,I am looking for a kiln to fuse,slump,cast,ect. There are so many
different ones out there and I am afraid of getting the wrong one and
being sorry I didn't get a different one, so any advise would be
helpful. I have been looking at the 1014 skirt with the glass-master
control and also the paragon.22 " front load,what does anyone think
about those two?
Suzi
;

Tell us first what are you going to use the kiln for.
If you make jevelry your requirements are different of those
needed for fusing-slumping bowls not to mention casting solid pieces.

Tell us second if you are inclined to production work or one of the kind
pieces.

-lauri

Hi Lauri,I am not into jewerly.I want to be able to do custume work
some day in hopes of earning a few extra dollars.I would like to fuse
art pieces of fair size ,slump plates, drop ring cool vases,some day
even do sinks.I know that sounds ambicious for a beginner but I love
working with glass and want to branch out from stained glass a little.
Suzee

Get the largest kiln you can afford. A bell or top loader. I built a 3x5
a few years back but am regularly using a Denver 4x8 right now.

Jack

Thanks for the info. Art pieces of fair size? A round plate of 20" diam
is someting in a display. Some pieces may be rectangular. So a working
surface of 20"x32" might do?
Drop ring calls for 8" working height + 6" distance to top elements.

Mine is a bit smaller, It was limited by the fact that I could not get
more than 230V 3*16A electricity. calculate the cubic feets, I'll not
tease my mind with imperial units. Compare that to kiln brochures and
you get an idea what is feasible.

Jack gave the usual recommendation "bigger is better" but I do not
completely agree unless you plan production work. In artistic work you
want to do one piece at time not to compromise quality. Most pieces
will be smaller that the show cases above.
I hate to heat up that mass for a test piece of the size of a postcard.
Consider also a "starter" that can serve as a test kiln later on, when
you know more of the direction your works are going.
I would say the kiln must be big enough for 90 per cent of your projects.
The larger ones a re usually commissions and the you can afford to hire
kiln time somewhere.

I love my bell jar, as it has minimal heat radiation when I have to work
with open hot kiln. Clamshell is second in my opinion, before top loading.

A window costs but is worh every penny. Properly placed peep hole is
cheaper. You must see at least 1/3 of the working surface.

The factory made kilns are all workhorses. I cannot warn off of any
brand. The only caveat is brick lid. It tends to rain debris on the
glass. yes, a controller that you can understand. Free programmability,
no pre-set programs.

You want to get more confused? Please don't hesitate to ask.
-lauri- Hide quoted text -

- Show quoted text -

Hi again you say you love your bell jar,what kind or brand of kiln is
that or is it one you built?Yes the controllers are very confusing,I
have been looking at the ones made by skutt the glassmaster II what
are your thoughts on them?
Suzee

wrote:
On Jul 7, 11:07 am, Lauri Levanto wrote:
nJb wrote:
wrote:
On Jul 5, 11:37 pm, Lauri Levanto wrote:
wrote:
Hi ,I am looking for a kiln to fuse,slump,cast,ect. There are so many
different ones out there and I am afraid of getting the wrong one and
being sorry I didn't get a different one, so any advise would be
helpful. I have been looking at the 1014 skirt with the glass-master
control and also the paragon.22 " front load,what does anyone think
about those two?
Suzi
;
Tell us first what are you going to use the kiln for.
If you make jevelry your requirements are different of those
needed for fusing-slumping bowls not to mention casting solid pieces.
Tell us second if you are inclined to production work or one of the kind
pieces.
-lauri
Hi Lauri,I am not into jewerly.I want to be able to do custume work
some day in hopes of earning a few extra dollars.I would like to fuse
art pieces of fair size ,slump plates, drop ring cool vases,some day
even do sinks.I know that sounds ambicious for a beginner but I love
working with glass and want to branch out from stained glass a little.
Suzee
Get the largest kiln you can afford. A bell or top loader. I built a 3x5
a few years back but am regularly using a Denver 4x8 right now.
Jack
Thanks for the info. Art pieces of fair size? A round plate of 20" diam
is someting in a display. Some pieces may be rectangular. So a working
surface of 20"x32" might do?
Drop ring calls for 8" working height + 6" distance to top elements.

Mine is a bit smaller, It was limited by the fact that I could not get
more than 230V 3*16A electricity. calculate the cubic feets, I'll not
tease my mind with imperial units. Compare that to kiln brochures and
you get an idea what is feasible.

Jack gave the usual recommendation "bigger is better" but I do not
completely agree unless you plan production work. In artistic work you
want to do one piece at time not to compromise quality. Most pieces
will be smaller that the show cases above.
I hate to heat up that mass for a test piece of the size of a postcard.
Consider also a "starter" that can serve as a test kiln later on, when
you know more of the direction your works are going.
I would say the kiln must be big enough for 90 per cent of your projects.
The larger ones a re usually commissions and the you can afford to hire
kiln time somewhere.

I love my bell jar, as it has minimal heat radiation when I have to work
with open hot kiln. Clamshell is second in my opinion, before top loading.

A window costs but is worh every penny. Properly placed peep hole is
cheaper. You must see at least 1/3 of the working surface.

The factory made kilns are all workhorses. I cannot warn off of any
brand. The only caveat is brick lid. It tends to rain debris on the
glass. yes, a controller that you can understand. Free programmability,
no pre-set programs.

You want to get more confused? Please don't hesitate to ask.
-lauri- Hide quoted text -

- Show quoted text -

Hi again you say you love your bell jar,what kind or brand of kiln is
that or is it one you built?Yes the controllers are very confusing,I
have been looking at the ones made by skutt the glassmaster II what
are your thoughts on them?
Suzee

Bell jar kiln has a desk that forms the bottom. The sides and top like
an upside down box are hoisted straight up. Therefore when hot
manipulating, only the bottom radiates heat to my face and hands.
I do not know if those are factory made. Mine is custom built.

|----|

=====

I do not know the American controllers. Mine is a Bentrup from Germany
Checklist for the controller:
- does it have at least 8 program segments.
- does it set ramps by deg/hour OR time to next segment ( a matter of
personal preference, I like the latter)
- does it have a backup batteru and recovery program for blackouts.
(mine does not have, and I have to go to the studio and reset manually)
- do you really need stored programs. They make the thing more
complicated, but are a blessing in production work.

-lauri