Duncan Studio Basics: Kilns

Duncan Studio Basics
Day 1
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KILNS
Kilns are heating units especially designed for firing ceramics. The name kiln comes
from the Latin word for kitchen, referring to ovens. Basically, ovens and kilns work in the
same manner. Cakes, cookies and meringues are baked at different temperatures.
Greenware, glazes and overglazes are also fired at different temperatures; the main
difference is that a ceramic kiln fires much hotter and longer than a household oven.
The term firing comes from the fact that kilns were originally heated with fire.
In fact many places in the world still use wood-burning kilns. Today, most ceramists use
electric kilns to obtain truly consistent results, just as we use electric ranges instead of
wood-burning stoves.
Electric Kilns – For hobby ceramics, all of the kilns should be electric and use a firing
condition known as an oxygen-rich environment. Duncan products need to be fired with
oxygen to make them perform correctly. This is known as oxidation firing. Electric kilns
work by resistance. Electricity travels through the elements and the elements are
designed to resist the passage of the electricity. The resistance makes heat. The more
electricity, the smaller wire, the more resistance; therefore, the more heat.
Electric kilns are designed to conform to certain electrical needs. Kilns are designed with
specific voltage and amperage requirements. Volts are the power source. Most kilns in
the U.S. take a 240-volt power source. However, many public electrical systems use
208-voltage. Small kilns are also available with a 110-volt system.
International voltage varies from country to country. Amps are determined by the size of
the kiln’s inner wiring. Smaller kilns usually need a 30-amp breaker and outlet, whereas
larger kilns will need a 50 to 60 amp breaker and outlets.
Wiring from the breaker box to the kiln outlet must be of a specific size. Wire size is
determined by the voltage and amp draw required for a specific model.
Seek assistance from a qualified electrician and kiln distributor to help determine specific
kiln needs. The kiln must be installed properly and should meet all electrical needs.
Always refer to the manufacturer's manual for the necessary amps and voltage
requirements.
ELECTRIC KILNS & DESIGN

Soft insulating bricks designed specifically for heat retention are used in most kilns. With
proper care, they will last indefinitely. Little holes in the brick absorb and trap heat to
create a firing chamber that holds and retains heat longer.
Kilns are designed with vent holes and/or peep holes to facilitate removal of gases and
to allow adequate air circulation. These openings are important to release gases and
secondary water from firing chamber. Vent holes are present in the top of the kiln and on
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the sides. Newer kilns often have a small air vent in the bottom of the kiln.
Venting Systems are designed to remove gases and secondary water from the kiln
chamber and from the studio or kiln room environment. These systems should be used
to further ensure great firing results. Several systems are available, check with your local
distributor for assistance in choosing the best system for your needs.
KILN SHUT-OFF DEVICES

Manual – Does not have any device to shut off the kiln except manually, by the operator.
Sole use of shelf cones. Very rarely used today.
Kiln sitter: A mechanical device that, in conjunction with a small junior cone, will shut kiln
off when a desired temperature is reached. When the cone in kiln sitter bends the kiln
shuts off. Shelf cones should be used every firing.
Kiln sitter with auto-timer: Same as above but with the addition of a timer to shut the kiln
off if the kiln-sitter/automatic shut off device fails or the cone does not bend properly.
Shelf cones should be used with every firing.
First generation automatic kilns: Kilns that are programmed to rise to a certain rate of
temperature before all elements in the kiln are automatically turned too high. Used in
conjunction with a kiln-sitter/automatic shut-off device with or without an auto timer and
shelf cones.
Electronic kilns: Kilns with computer chips that work directly with a thermal couple that
can be programmed for a variety of firing conditions and should always be used with
shelf cones.
KILN SAFETY
Kilns are heat-generating appliances. Use common sense when working near your kiln
to avoid burns. Following are general safety tips to follow when working with kilns.
1. Set up your kiln in an area with proper ventilation. Be sure it is free from any
flammable debris.
2. Place the kiln stand on a surface that is level. The floor beneath the kiln should be of
material that will not present a fire hazard, such as cement, ceramic tile, brick or
stone.
3. Do not fire a kiln unattended.
4. Wear protective gloves when removing or seeing vent plugs.
5. Wait until the kiln has fully cooled before attempting to unload fired pieces.
6. Never attempt to open the lid of the kiln while in operation.
KILN WASH
Kiln wash is a mixture of finely ground minerals that will not melt and fuse together
during firing. It is a protective coating applied to the top of kiln shelves and to the bottom
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of kiln to prevent glaze drips from adhering permanently to these surfaces. It also
prevents cones from sticking to the cone supports and sensing rod, as well as the kiln
shelf.
When the surfaces of your kiln floor or shelves protected by kiln wash become rough or
thin or if glaze has dripped onto the shelf, scrape wash off shelves with a putty knife and
apply a new coat. Kiln wash should be applied to shelves when first using the kiln and
should be reapplied as needed after every 8-10 firings.
Kiln wash is usually purchased in a powdered form and mixed with water until it reaches
the consistency of skim milk. A high fire kiln wash is recommended. Using a standard 2-
4” paint brush, apply 3-4 thin coats of the kiln wash mixture to the top of all shelves,
including the bottom of the kiln. The bottoms of shelves should always remain clean. Do
not apply kiln wash to the bottoms of the shelves. Clean brushes with soap and water.
Kiln wash should ALWAYS be used when firing earthenware.
KILN WASH IS APPLIED TO

• Top side of kiln shelves
• Brick bottom of kiln (for protection of the floor of the kiln)
• Inside of the cone supports
• Underside of sensing rod
• Do not apply kiln wash to side-walls, lid or bottom of shelves, as it will fall off during
firing and fuse onto glazed ware
PYROMETRIC CONES
Pyrometric cones are one of the best tools used in firing. These little cone and bar
shaped items are essential in creating quality ceramics.
WHAT CONES DO
• When used properly, cones bend in the firing chamber reacting to the time and
temperature in the kiln.
• The bend in a cone serves as an indicator showing the specific temperature reached
for a specific length of time.
TYPES OF CONES
1. Large cones known as witness or shelf cones are used on kiln shelves to determine
temperature achieved on the shelf. Due to heat rising, a cone is placed on every
shelf during every firing to measure the consistency of heat throughout the kiln.
2. Regular shelf cones need a clay base or metal base for support.
3. Self-supporting cones sit directly on kiln shelf and need no additional support.
4. Junior cones – Small cones designed for kiln sitters.

Used in conjunction with a kiln-sitter/automatic shut-off device. Junior cones bend
relative to time and temperature in kiln. Bending causes a device in the kiln called
the sensing rod to move, which in turn shuts the kiln off. The may be tapered like the
shelf cones or may be bar-shaped. Bar-shaped tend to be more accurate than
tapered cones, due to uniformity in size.

CONE USE TIPS
• Use only once.

• Cones should not get wet or damp.
• If the kiln shuts off prematurely, allow kiln to cool and replace cones, then refire in
required firing cycle. (Investigate why the kiln shut off prematurely.)
• In rare cases cones can be faulty and are not always foolproof.
• Use a timer in addition to the cone to gauge approximate shutoff time.
CONES AND TEMPERATURE

The higher the number, the hotter the cone. View the numbering system on the cones as
a decimal system.
COOLER HOTTER
020 019 018 017 06 05 04 02 0 5 6 10
• Cone 04 is hotter than 06. Cone 02 is cooler than cone 5. The decimal in front of the
cone system no longer appears in text, refer to cone .04 as 04.
• Cone 020 is cooler than 019.
• Cone 6 is much hotter than cone 06.
WHAT CONE DOES YOUR PROJECT NEED?

Following is a basic guide to cones needed for various projects, as each project and
product is unique it is important to check the product label for specific firing instruction.
CONE FIRING TABLE
CONE CENTIGRADE FAHRENHEIT

022 590 1094
021 617 1143
020 638 1180
019 695 1283
018 734 1353
017 763 1405
016 796 1465
015 818 1504
014 838 1540
010 915 1679
07 987 1809
06 1013 1855
05½ 1025 1877
05 1044 1911
04 1077 1971
03 1104 2019

02 1122 2052
4 1190 2174
6 1230 2246
8 1260 2300
PROJECT CONE RANGE

❃see label for specific firing instruction
Porcelain and Stoneware Bisque & Glaze 6 – 10
Hobby Ceramic Greenware to Bisque 04
Underglaze on Greenware 04
Hobby Ceramic Glaze on Bisque ❃ 04 – 06
Metallic Overglaze 018 – 019
Decals/Transfers ❃ 015-022
China Paint 019
Luster (Mother of Pearl) Overglaze 020
READING SHELF CONES

Before the advent of kiln shut-off devices, three shelf cones were used on each shelf,
usually placed next to the peephole in the kiln. The three cones were used to indicate
different firing temperatures. For a cone 04 firing, the three cones were 03, 04 and 05.
• 03 was the guard cone. The guard cone prevented over-firing if the bending of the 04
was not noticed in time to turn the kiln off.
• 04 was the firing cone. The firing cone was the needed cone to determine the
desired firing temperature.
• 05 was the guide cone. The guide cone indicates that the inner firing temperature is
nearing the desired cone.
If the kiln fired correctly, the cones would look like this:
Guide cone 05 Firing cone 04 Guard cone 03

The same system is used today with all types of automatic kilns. By using the same
system on all shelves, accuracy of firing on individual shelves can easily be determined.
After a few firings, the only shelf cone needed in the kiln would be the actual firing cone,
used on every shelf in every firing. The only way to determine if a kiln is firing correctly is
with the reading of bent cones.
HOW TO READ A CONE

The single cone reading should look like this with an accurate firing.
If the cone looks like this the kiln has under-fired and items should be refired. You will
also want to determine the cause for the under-firing.
If the cone looks like this, the kiln has over fired. Determine the cause for over-firing.
Pieces cannot be refired to change their over-fired condition.
Every kiln regardless of its manufacturer will have some internal variation in
temperatures. Each kiln is different and has its own personality. Using cones will help
you understand how your kiln fires, and will serve as an indicator to kiln problems such
as a damaged element. For example, older kilns often have a longer firing time. Kiln
elements wear out and should be replaced every 700 to 800 firings. By replacing kiln
elements, more accurate firings will be achieved as well as a possible reduction in
electric bills.
Sensing rods and cone supports used in kiln sitter/automatic shut-off devices should
also be replaced periodically. These parts corrode over a period of time, just like

elements, causing inaccurate firings to occur. Pyrometers should be replaced when their
accuracy begins to fail. Pyrometers are used with the newer electronic-type kilns. While
most glazes can handle some variations in cone temperature, more extreme variations
in a kiln can occur causing an under-fired or over-fired piece not meeting the standards it
would have if it were fired properly.
Cones can detect temperature variances in the kiln chamber and help avoid the costly
errors of wear fired inaccurately. Cones serve as a guide and will let you know when you
have had a successful firing. For specific kiln firing information with making adjustment
to firing time, kiln sitter, and computer systems, one needs to work directly with the kiln
manufacturer.
TO ENSURE CONSISTANT QUALITY RESULTS WE STRONGLY RECOMMEND THE

USE OF CONES WITH EACH AND EVERY CERAMIC FIRING.
Cone information has been provided by the Edward Orton Jr. Foundation.
FIRING
The big event! All ceramic pieces need to be fired at least once, and may be fired many
times. If a ceramic piece is not fired correctly, no matter how well the item has been
completed, the result will be greatly affected by the firing process.
EARTHENWARE TO CONE 04 BISQUE

Earthenware is another term for low fire ceramics or clay that is bisque fired to cone 04.
When this clay body is fired significant changes take place in the clay body. Bisque firing
is the first firing that removes gases and water from the ware.
THE “MAGIC” INSIDE THE KILN

During cone 04 bisque firing minerals in the clay begin to break down and react with
other materials to produce gases. At 900º Fahrenheit, “red heat” water molecules begin
to break free from the clay body. With increasing temperatures, clay and minerals
continue changing to form what will be the final, hard, fairly durable, opaque bisque
product.
LOADING A KILN FOR CONE 04 BISQUE

1. Check bottom and shelves of kiln to see that they have been coated with kiln wash.
Kiln wash should be completely dry before loading kiln.
2. Place a 1” high false bottom, “hearth plate” in the kiln — this will generate better air
circulation in firing chamber. The slight rise in elevation will also create a hotter firing
temperature in the bottom of kiln.
3. Use clean shelves and posts, known as kiln furniture. We recommend high-fire kiln
furniture; it will last longer and is durable with slightly thicker shelves.
4. Have 03, 04 and 05 shelf cones ready to place on each kiln shelf. Place 04 bar cone
in kiln sitter before loading kiln.
5. Load only bone-dry ware into kiln. Damp ware may crack during firing and
sometimes explode, causing damage to other ware in kiln.
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6. Greenware pieces and pieces decorated with clay based underglazes may be placed
directly on kiln shelves. Decorated pairs of items should be fired together to ensure
like color tone.
7. Undecorated pieces can touch during the bisque firing. For best results leave ½ to ¾
inch between individual items and kiln furniture.
8. Keep ware no closer than 1” from the kiln wall. Plan your load and arrange it before
actually placing it into the kiln. This helps use space efficiently.
9. Items with lids are to be fired with lids on them and ware is to be fired in its normal
resting position.
10. When adding another shelf, have ¾” to 1” space between the tallest piece and the
underside of the next shelf. Use three posts to support each shelf.
11. Lower shelves into the kiln carefully to avoid damage to the kiln walls or
thermocouple, placing shelves so there is a least one element showing between
each pair of shelves and one element between the uppermost shelf and the top of
the kiln.
12. When kiln is loaded, close lid, set kiln for earthenware cone 04 bisque fire according
to manufactures’ instruction and turn kiln on.
ADDITIONAL BISQUE-LOADING TIPS

• Fire large flat items in the middle of kiln. Extra-large platters and flat pieces can also
be placed on long posts laid parallel on the shelf to form a rack. This helps prevent
firing breakage by evenly distributing heat around ware.
• Stacking items can result in underfired bisque and is not recommended.
• For best results be careful not to overload kiln.
UNLOADING KILN
1. To avoid breakage when unloading a kiln take ample time to unload carefully.
2. Allow kiln to cool before unloading. Allow kiln to cool slowly avoiding thermal shock,
this is better for ware and elements inside kiln.
3. Make note of cones on each shelf in a firing journal. In the event ware is underfired it
may be necessary to fire ware again.
4. Remove pieces when they can be easily picked up with unprotected hands.
5. Remove shelves and ware carefully, avoiding contact with kiln walls, elements and
thermocouple.
6. Stack shelves and posts in an area free from dust and glaze while not in kiln.
CLEANING A KILN
1. To provide the best possible environment for firing earthenware, it is important to
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clean a kiln regularly.
2. Remove and shelves and rewash with kiln wash as needed.
3. Vacuum the inside of kiln weekly or after every 5 or 6 firings.
4. Vacuum immediately if ware blows up in kiln, or kiln brick or kiln wash chips are
found inside chamber.
5. When placing hearth plate back in kiln, be sure it is locked in correctly before
loading.
General Rules for Firing Glaze:

1. Be sure that kiln is clean and free from dust and dirt. Also make sure stilts do not
have residue on the pin tips from previous firings.
2. Kiln floor and tops of shelves should be kiln washed.
3. Sort glazes as you would your laundry, light colors with light and dark colors with
dark.
4. Use the largest stilt possible for the piece you are firing.
5. Keep separate stilts for light and dark colors.
6. Taller pieces should be to the center of the shelf and shorter pieces along the
outside edge of the shelf if pieces are not of the same relative height.
7. Leave 1-2” between the edge of piece being fired and the elements.
8. Never place the edge of a piece directly across from an element. It should be
either slightly above or below the element.
9. Leave ½” –1” between pieces on stilts when firing.
10. Check clearance between tallest piece on the shelf and the underside of the shelf
above, ¾” to 1” is recommended clearance.
11. For crystal glazes or foaming type glazes allow more room between pieces.
12. Make sure there is a least one element between shelves. Also be sure there is at
least one element between highest shelf in the kiln and the lid.
13. Be sure that glazes in the same kiln are all compatible with each other (cooper
formulas not with reds).
14. Make sure pieces are separated and not touching or they will fuse together.
15. Nontoxic glazes like slower firings if using a manual kiln 2 hours on low, 2 hours
on medium and then turn to high to finish firing. Digital kilns fire on the medium
firing speed.
16. Vent the kiln properly.
17. Place witness cones on each shelf.
18. Never fire you kiln unattended.
19. Let kiln cool completely before removing pieces. If removed too soon thermal
shock can occur.
20. Pieces and kiln should be cool to the touch.
21. Remove stilt marks.

Glazes Defects and Remedies
1. Cratered or Bubbled Glaze:
Underfiring, glaze application too thick, immature bisque
Remedies:
Sand or grind down the bubbles, add a thin coat of glaze and refire to
proper cone
2. Crazing:
Immature bisque, thermal shock, improperly formulated body, heavy glaze
application
Remedies:
Refiring piece one cone hotter from the original cone sometimes corrects
the problem
3. Cloudy Transparent Glaze:

Over application of glaze, glaze underfired
Remedies:
Refire to proper cone, fire one cone hotter than original cone if over
applied
4. Pinholes:
Underfired bisque, dust on ware, applying glaze to greenware, firing too
rapidly, improperly adjusted slip, firing wet glazes
Remedies:
Refire to proper cone; apply a thin coat of glaze before refiring
5. Crawling:
Dust on ware, glaze puddling in recessed areas
Remedies:
Remove dust; reapply glaze and fire to proper cone
6. Shiny Matte or Satin Glaze:

Overfired or underfired
Remedies:
Underfired; refire to proper cone, Overfired, sometimes apply a coat of
glaze and refire to proper cone
7. Smooth Textured Glaze or Rough Finish to Smooth Glaze:

Insufficient application, misfired
Remedies:
Reapply glaze and fire to proper cone
8. Distorted Bisque:
Overfiring or ware incorrectly removed from mold
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Remedies:
Not usually salvageable
Color
We all know someone who has a knack for putting colors together, colors you’d
never think of combining – a violet scarf and amethyst pin with a harvest gold suit
and it looks smashing. Some people have an inborn color sense, but if asked to
explain why they combined peach and turquoise in the guest room, they would
not be able to give you a logical explanation. The basic principles of color follow
true logic and can be easily learned.
The Psychology of Color

Colors determine the psychological effect your project will have on those who
see it. Let’s look at the various colors and see what feelings or emotions each
convey. Have you ever been in a room that always felt cool and relaxing no
matter what the thermostat read? It was probably blue.
Red – The most exciting color, known to escalate the body’s metabolism. A
lighter shade, pink, is associated with romance, while darker red has royal
implications.
Green – Is peaceful, fresh and clean, the color of a spring meadow. Bright green
can be uplifting, and dark green evokes a mental picture of a pine forest.
Yellow – Is cheerful, stimulating and happy, and can become irritating if

continuous. Dark yellow can be overwhelming, while light yellow is cheery.
Blue – Is the most calming color. It is the second-most powerful color after red.
Light blue soothes, while dark blue adds dignity.
Violet – Is the color of aristocracy, but rare in nature and perceived as artificial.
Light purple is a fashion favorite; dark purple implies wealth.
White – Is a dichotomy with innocence on one side and sterility on the other. It is
the color of fine china and disposable paper plates.
Black – Can represent mystery or imply elegance, and its bold appearance has
made it popular among artists.
Brown – The color of the earth, evoking vagueness or melancholy. Light brown
confers genuineness. Dark brown is reminiscent of fine wood and leather.
Your most important tool in understanding color is the color wheel. There are
many available commercially, such as the Grumbacher Color Computer. It shows
the major color scheme and the 12 color families with their respective value
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scales. To thoroughly comprehend the properties of color, we will make our own
color wheel in class.
THE TWELVE COLOR FAMILIES

These are divided into three categories: Primary, Secondary and Tertiary.
Primary: Three colors, red, blue and yellow, are equidistant apart on the wheel.
You cannot make these colors, rather it is from these three colors that all other
colors are made.
Secondary: Mixing any two primary colors makes them. They should not appear
to lean toward either of the parent colors, but should stand independent of them.
Tertiary: (pronounced tursh-eee-air-eee) Mixing together a primary color and

one of its neighboring secondary colors makes these. Another term that is often
interchanges with tertiary is “intermediary”.
yellow and orange = yellow orange
yellow and green = yellow green
red and orange = red orange
red and violet = red violet
blue and green = blue green
blue and violet = blue violet
TERMS USED TO DESCRIBE COLOR

Hue: This is the name of the color family. For example, the hue of OS 564
Pansy is violet and OS 493 Sandalwood is yellow in hue.
Value: (Is it light or is it dark?) Value refers to the lightness or darkness of a color
as compared to a scale of grays, with white being the lightest at #9 and black
being the darkest at #1. For the purpose of this study, we will not assign numbers
to the colors to describe their value. However, within each project, we will discuss
the relative value of each color in this respective hue.
The phrases used to depict value are demonstrated below on a scale to describe
the values of the three primaries and three secondary colors, hues you are
familiar with:
Light value: yellow
Middle value: orange, green, blue, red
Dark value: violet
Value is relative to its surroundings. A light color will appear lighter on a dark
background, and dark colors will appear darker on a light background.
What effect does value create within a painting? Value creates form. The effect
of light on objects causes varying degrees of light and dark, or value. This gives
a three-dimensional look on a one-dimensional surface. You are creating an
optical illusion. Lighter values make objects appear larger, therefore, closer to us,
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while dark values create the opposite effect. A strong contrast in values brings an
object closer to us where closely related values make objects recede into the
distance. Like a photo with sharp focus on the subject with everything in the
background out of focus or hazy.
HOW CAN YOU ALTER THE VALUE OF COLOR?

If you tint a color you are raising the value. Adding white or any other color that is
higher in value can do this.
If you create a shade of color, you are lowering the value. Adding black or any
other color, which is lower in value, does this. For example, true green (which is
middle value) can be lowered by adding black or true blue, red or violet.
To make it transparent, add Thin’n Shade®. Allow the color underneath to show
through. This will bring the value closer to the underlying hue.
Intensity: This term is probably the most difficult one to understand, as people
often confuse it with value. Intensity is independent of value. What is intensity? It
is used to describe the purity of color, is it bright or is it dull? Is it loud, demanding
your attention, or is it soft, subtle and soothing? Intense color is raw, strong and
vivid. The addition of any color to this pure color will lower its intensity. Intensity
is also called chroma.
What effect does intensity create within a painting?

Intense colors create dimension by calling your attention to that object or part of
an object, thus bringing that object to the foreground. Therefore, to make
something recede into the background, you can lower its intensity. Think of the
color to the foliage on trees in the distance as compared to the color of a leaf in
your hand.
Because a color at full intensity pulls the eye, it should be used only where you
wish the dominant part of your design to be. If you wish to emphasize a certain
area, use your intense colors. Too much intensity used in too many areas
creates confusion.
HOW CAN YOU ALTER THE INTENSITY OF A COLOR?

The addition of any other color to a pure color will lower its intensity. Some
people always add brown to lower intensity and, while this does work, it also
results in muddy colors. It’s best to neutralize (lower the intensity) by adding the
complementary color (the color opposite on the color wheel) a little at a time until
the desired level of neutrality is achieved.
1. Adding black or white lowers the intensity.

2. Adding a more intense color of the same hue (or neighboring hue) can raise
the intensity.
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3. Adding a transparentizer, such as Thin’n Shade, or water will stretch the
pigment allowing the background to show through, thus changing its intensity.
4. Place any color beside its complement and it will appear more intense.
However, if you place it next to a color that is close to it on the color wheel it will
be quieter. For example, a red apple is much brighter on a green background
than on a gold one.
Temperature: All colors convey feelings of being warm or cool. Warm colors are
red, orange and yellow. Cool colors are green, blue or violet.
Warm colors tend to make objects larger, thus closer to us. Cool colors tend to
minimize objects, making them recede. It is important to note that (except for
pure color) most colors have both a cool side and a warm side. For example,
although Barnyard Red is technically a warm color, look at it closely. It has a
tinge of blue to it. This makes it a cool red as compared to Bright red, which has
a tinge of orange. This would be useful if doing a group of berries. Those berries
in the foreground have a base color of Bright Red, while those in the distance
have a base color of Barnyard Red.
Have you noticed that the complement of a cool color is always a warm one?
Just as temperature extremes in our environment cause unsettled weather,
complementary hues used in a color scheme are attention grabbing!
COLOR SCHEMES
There are several schemes to show you how to combine color for guaranteed
success.
Monochromatic: This plan involves only one color. The various values are
achieved by the addition of white and black.
Polychromatic: Uses all of the colors in the spectrum.
Complementary: This scheme uses colors which are opposite on the color
wheel. You may also add neutrals such as white, black and gray and even
grayed green is considered neutral. Sometimes you have to add a small amount
of another hue to maintain realism. For example: a red poinsettia and green
leaves on a gray background may have yellow-orange centers.
Split Complementary: Choose a color that you wish to be the dominant one
e(.g. red). Now, locate its compliment – green. The colors that lie on either side
of the green, yellow-green and blue-green, are used with red in the split
complementary color scheme.
Double Split Complementary: Differs from split complimentary in that you

divide your key color into the two colors that lie on either side of it, red-orange
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and red-violet. Pair these with the split complements (of key color), yellow-green
and blue-green.
Analogous: (pronounced an-al-o-jus) This scheme consists of neighboring

colors on the wheel and may involve from three to seven colors.
Analogous with Direct Complement: Find the color that lies on the middle of
your analogous colors (e.g., yellow-orange, yellow, yellow-green). Now take the
direct complement of yellow, which is violet, as an accent color.
Triadic: Choose three colors that lie equidistant on the color wheel, for example:
orange – green – violet. Colors are chromatically arranged for easy use in
paint/color applications.
Color Scheme Selection Tips

1. Decide what mood you want to achieve.
2. Choose the background color first. In general, light colors work better than
dark, and warm colors work better than cool.
3. Add a touch of one color to all of the colors used.
4. Add a touch of the background color to all of the hues used in the design.
After decorating, antique the piece with translucent stain.
5. Try not to use more than three hues.
6. Include black, white or gray to achieve harmony.
7. Experiment, choose your own guidelines and let your creativity be your
guide.
DIPPING GLAZE
Dipping glaze is a fast and easy way to glaze bisque. Dipping glaze is
formulated to coat decorated bisque in a fast, economical manner. The pieces
are simply dipped (submerged into the glaze) drained, dried and fired.
1. Make sure bisque is fired to shelf cone 04. Underfired bisque will absorb too
much water from the glaze, producing a thicker coat than desired. Over-fired
bisque will resist water absorption, creating a coat that is too thin.
2. Dust with a duster brush and damp-sponge the ware to make sure bisque is
clean and free of dust.
3. Mix dipping glaze in its own container, then pour the mixed glaze into a
dipping tank (a clean plastic container works well).
4. Mix the glaze thoroughly with paddle, bowl brush or drill mixer. Note: Drill
mixers should rotate at a speed no greater than 1000 rpm. Hot, dry weather
can cause variables in dipping consistency. Add water as needed to thin and
stir well.
5. Test glaze for proper thickness with a Dupont M50 Viscosity Cup. See
Information on Controlling Dipping Glaze Viscosity on page 9.
6. Grip ware with clean hands or dipping tongs.
7. Rapidly and smoothly submerge ware, covering ½ to ¾ of it if large,
15

completely if small. Give hand a slight twist and quickly lift ware out of glaze.
Avoid contact with the side or bottom of the dipping tank, as the glaze coating
will be wiped away from contact areas.
8. While removing the piece from the dipping tank, shake drips from the ware.
The coating should have the thickness of a business card over the non-
painted bisque areas. Colored areas may appear to have less glaze, which is
normal.
9. Finger-smooth any drips or runs before placing the dipped ware on a rack to
dry. Glaze will appear chalky when dry.
10. If ware is partially dipped, wait until glaze appears dry (about 2-5 minutes)
and gently hold glazed area while dipping remaining portion. Overlap glaze
by about ¼” to ensure there are no gaps.
11. Fix, finish and smooth where needed. Use a brush to lightly touch up any
missed areas with glaze while ware is still wet. You may smooth any overlap
lines in the dipped glaze with a damp brush. For areas where color is under
dipping glaze, be careful while smoothing to prevent color smears.
12. Allow glazed ware to dry thoroughly before loading into kiln. When dipping we
have added a great deal of water to the bisque and firing the piece
immediately after dipping could result in pinholes on the wares surface.
Dipping Glaze Materials for a Home Studio or Small Shop

• A covered container such as a plastic file folder container, which can be
purchased at Staples or Office Max/Depot.
• Dipping Tongs or hands.
• A new toilet bowl cleaning brush – this is a must. Use the brush to mix up the
dipping glaze. We have found this brush to work a well as a mixer.
• Newspaper for covering your work area.
• A drying rack or several stilts for drying the ware after dipping.
• A viscosity cup for testing the thickness of dipping glaze.
• A container of water for thinning the glaze, if needed.
• An inexpensive stopwatch is helpful, or use a watch with a second hand when
timing the viscosity of the glaze.
CONCEPTS® CLEAR DIPPING GLAZE (CN2000D):

CN 2000D is the most recent development in lead free dipping glaze. CN2000D
is a trouble free, lead-free, and easy to use glaze. Lead is turning into an
environmental issue as well as a food safety issue. Therefore, everyone in the
ceramic business must learn how to successfully use nontoxic, lead-free glazes.
Dipping is easy and takes just a little practice to perfect.
• CN 2000D is tinted purple for easy identification.

• Should always be used on clean cone 04 bisque.
• Is especially designed for use with Concepts and other Duncan products.
• CN 2000D has a quick drying time of 20 to 30 seconds that varies depending
16

on the type of decorating on ware.
Controlling Dipping Glaze Viscosity

Controlling the viscosity (thickness) of a dipping glaze is critical to the success of
your dipping operation. A glaze that is too thin will give a rough, glaze-starved
appearance and may not cover underglazes well. Thin glaze can also hard settle
in the bottom of the dipping tank while not in use. Glaze that is too thick will
cause crawling (pulling back of the glaze), pinholes, milky underglaze colors and
will dry slowly.
There are several methods that can be used to control the viscosity of dipping
glazes. We will concentrate on the addition of SY556 Dipping Glaze Thickener to
thicken the glaze and the addition of water to thin the glaze.
The first thing to determine is if the glaze is too thick or too thin. The best method
to determine this is by using a viscosity cup also called a Zahn cup. The viscosity
measurements that will be given are based on the DuPont M50 cup, which is
available through Duncan. Other viscosity cups may be of different volumes or
have different size discharge orifices. These cups will work but the readings will
not correlate with the readings listed in this document.
What is a viscosity cup? It is simply a container with an open top and a dished
bottom. The bottom has a small hole to allow the glaze to pass through. The cup
has a handle so that it can be dipped into the glaze. You will need a stopwatch or
a watch with a second hand to time how long it takes the glaze to flow through
the cup.
1) To use the cup, first mix the glaze well, then submerge the cup in the glaze
and allow it to fill (see fig. 1).
Fig. 1
17

Quickly remove cup from glaze, starting stopwatch at same time. Cup is held 5"
to 10" above glaze while timing how long it takes glaze to run through cup (see
fig. 2).
Fig. 2
3) Stopwatch is stopped when the steady stream of glaze breaks at the bottom of
cup and only a few drops of glaze, if any, emerge from cup (see fig. 3).
18

Fig. 3
The reading in seconds is an indication of the thickness of the glaze. In general,
a time of 25-30 seconds plus or minus a second is considered acceptable for
CN2000. If the cup still has glaze in the bottom (see fig. 4) but has stopped
running, the glaze is considered to be thixotropic and is too thick even if the time
on the stopwatch is less than 25 seconds.
Fig. 4
This range in seconds is not an absolute rule and you may find that a reading
outside this works better. If this is the case, just record that number and maintain
the viscosity reading for your glaze by that number. If you find that your results
are better with a thixotropic glaze, it is important to measure and maintain the
level of glaze left in the cup as well as the time the glaze flows from the cup.
19

To adjust the viscosity you should do the following:
If glaze is too thick (high viscosity reading)

If the viscosity reading is too high, adding water can thin the glaze. The water
should be added in small quantities, 2 to 4 fl. oz. per gallon of glaze, then mix
the glaze well and check the viscosity.
Water should be added in graduated amounts, taking care not to add too
much at one time, resulting in a glaze that is too thin.
If glaze is too thin (low viscosity reading)

Let glaze set open to air to thicken slightly by moisture evaporation or add new
glaze that is thicker. Stir and recheck viscosity.
Product Glossary
Concepts® (CN)
Concepts® were developed especially for cone 04 bisque and has become one of the
most utilized products in the Duncan fired product line. Following are things you should
know about this versatile and colorful product.
1. Concepts have a balanced Color Palette.
2. Easy to use numbering system.
· The first 2 numbers denote the color.
· The last number denotes the intensity of color.
· If the number is a 1, the color is light. If the number is a 2, color is bright. If the
number is a 3, the color is dark.
3. Concepts are a type of underglaze and are a glaze-type product that does not flow,
when properly applied, during the firing process.
4. The Concepts look is softer and not as sharp as a traditional underglaze when
detailed.
5. Concepts are applied to bisque. Its brushing properties feel different and the
colors do not dry as readily as underglazes applied to greenware.
6. Many of the Concepts colors high-fire. Always check the Color Selection Guide
and test before completing the actual piece.
7. Concepts can be mixed with other Concepts, creating new colors. Always
complete a test sample.
8. Most Concepts have a fired glossy finish. They are applied to shelf cone 04
bisque and should be glazed appropriately before glaze firing to shelf cone 06.
Concepts may be used for a variety of fired finishes.
9. Concepts are water based and can be cleaned up with water.
10. Can be used with overglazes, French Dimensions and most fired products.
20

Concepts Properties and Application
1. May be opaque to translucent, depending on the number of coats.
· Translucent – 1 coat of color
· Semi-transparent – 2 coats of color
· Semi-opaque to opaque – 3 generous coats of color
· Opaque – drop and fill technique
2. Apply with a soft brush of choice.
3. Apply to shelf cone 04 bisque.
4. Allow to dry thoroughly before applying clear glaze.
5. Brush on clear glaze or dip decorated ware.
Note: When applying clear glaze by brush use the SB 807 Fan Glaze and flow a
generous coat of glaze onto the wares surface being careful not to disturb the
Concepts. It is best not to thin the first coat of glaze.
6. Allow glazed ware to dry thoroughly.
7. Stilt and fire to shelf cone 06.
French Dimensions™ (FD)

French Dimensions™ are a nontoxic, raised, stand-up, opaque glaze that may be applied
to greenware or bisque. May be applied over or under non-flowing glazes and is
overglaze compatible. Have a firing range of shelf cone 06-6. When fired, will have a
shiny surface. Great for adding fine details, dots, hearts and outlining. Can be tinted with
E-Z Stroke to create new colors.
Application
The bottle design allows two types of application. It may be applied holding the tip at an
angle against ware and gently squeezing color from bottle. French Dimensions may also
be applied by holding tip of bottle just above the ware and gently squeezing out product.
Shake bottle well before use. Before going to ware, squeeze a small amount of product on
to a paper towel to remove any air bubbles that may have formed when mixing. Apply to
shelf cone 04 bisque or greenware.
21

Studio Basics Day 1
Project 1:
Understanding Color
Materials Needed:
Cone 04 Bisque
DM 379D Antique Milk Pitcher or Similar Ware
Concepts® Underglaze for Bisque

CN 022 Bright Saffron
CN 073 Dark Scarlet
CN 113 Dark Delft
Glaze
CN 2000D Clear Dipping
Brushes
SB 802 No. 1 Liner
SB 806 No. 6 Round
SB 807 No. 6 Fan Glaze
Miscellaneous
Water Bowl
Paper Towels
Palette
Pencil
Sponge
Instructions:
1. Remove dust and condition ware by wiping with a dampened sponge.
2. Use a pencil to sketch or transfer flowers to ware.
3. Place all Concepts colors on palette.
4. Work from outside edge toward center. Pull in strokes with the SB 806 No. 6
Round applying 2 coats of CN 022 Bright Saffron.
5. With the Round apply 2 coats of CN 073 Dark Scarlet to flower centers.
6. Apply 3 coats of CN 113 Dark Delft to handle of pitcher. Outline flowers with
Dark Delft and the SB 802 No. 1 Liner.
7. Let dry.
8. Dip pieces in CN 2000D Clear Dipping and set aside to dry.
9. When dry, stilt and fire to shelf cone 06.
22

Studio Basics Day 1
Project 2:
Antiquing
Materials Needed:
Cone 04 Bisque
3656 Cute Tractor

CN 183 Dark Kiwi
CN 253 Dark Black
Glaze
Brushes
SB 806 No. 6 Round
Miscellaneous
Water Bowl
Paper Towels
Sponge
Palette
Instructions:
1. Remove dust and condition bisque with a dampened sponge.
2. Place Concept color on palette.
3. Use the SB 807 No. 6 Fan Glaze to apply 1 coat of CN 183 Dark Kiwi over
entire piece.
4. Use a dampened sponge to wipe back color, leaving color in recess areas to bring
out detail. Rinse sponge often so color does not get muddy looking.
5. Apply 3 coats CN 253 Dark Black to tires and other desired detail using the
SB 802 No. 1 Liner and SB 806 No. 6 Round.
6. Let dry.
7. Dip piece in CN 2000D Clear Dipping.
23

Studio Basics Day 1
Project 3:
Marbleizing
Materials Needed:
Cone 04 Bisque
DM 2310 Square Frame

CN 081 Light Wine
CN 201 Light Grey
CN 311 Light Ginger
Glaze
Brushes
Miscellaneous
Water Bowl
Paper Towels
Sponge
Paper Cups
Picture Frame Back
Clear Adhesive
Instructions:
1. Remove dust and condition ware with a dampened sponge.
2. Place CN 081 Light Wine, CN 201 Light Grey and CN 311 Light Ginger in
separate paper cups and thin each with water to a wash consistency.
3. Apply 1 coat of CN 311 Light Ginger over entire frame with the SB 807 No. 6
Fan Glaze.
4. For the second coat, apply all three colors by loading the brush in a different color
each time you load the brush. Let colors blend making sure there are not any
defined lines between the colors to give the marbleized effect.
5. Let dry.
6. Dip piece in CN 2000D Clear Dipping, let dry.
7. Stilt and fire to shelf cone 06.
8. Attach frame back to frame with clear adhesive. Try Aleene’s® 7800 Platinum
Bond glue.
24

Studio Basics Day 1
Project 4:
Stenciled Hearts
Materials Needed:
Cone 04 Bisque
8” Coupe Plate

CN 081 Light Wine
CN 082 Bright Wine
Glaze
French Dimensions™
FD 258 Pure White
Brushes
SB 806 No. 6 Round
Miscellaneous
Water Bowl
Paper Towels
Scissors
Contact Paper
Palette
Sponge
Pencil
Instructions:
1. Remove dust and condition ware with a dampened sponge.
2. Trace hearts on contact paper with pencil and use scissors to cut them out.
3. Remove backing from hearts and adhere to coupe plate.
4. Place Concept colors on palette.
5. Using a dampened sponge, apply 2 coats of CN 082 Bright Wine to background
of plate.
6. Remove heart stencils.
7. Load the SB 806 No. 6 Round with CN 081 Light Wine and apply 3 coats to
hearts.
8. Add dots and scroll designs to hearts using the applicator bottle of FD 258 Pure
White.
9. Let dry.
10. Dip piece in CN 2000D Clear Dipping.
25

26

Studio Basics Day 1
Host Studio Supply List
The following items will be used in this one-day course. These products should be
available for use in class. Numbers are based on classes of 12 students.
Materials Needed:
Cone 04 Bisque
DM 379D Antique Milk Pitcher
Scioto Mold 3656 Cute Tractor
8” Coupe Plate

3 CN 022 Bright Saffron
2 CN 073 Dark Scarlet
6 CN 081 Light Wine
6 CN 082 Bright Wine
4 CN 113 Dark Delft
3 CN 183 Dark Kiwi
3 CN 201 Bright Grey
2 CN 253 Dark Black
3 CN 311 Light Ginger
Dipping Glaze
2 Gal CN 2000D Clear Dipping
French Dimensions™
6 FD 258 Pure White
Brushes
Have available for purchase
SB 802 No. 1 Liner
SB 806 No. 6 Round
27

Studio Basics Day 1
Participant’s Supply List
Materials Needed:
Cone 04 Bisque
DM 379D Antique Milk Pitcher
Scioto Mold 3656 Cute Tractor
8” Coupe Plate
Brushes
SB 802 No. 1 Liner
SB 806 No. 6 Round
Miscellaneous
Water Bowl
Paper Towels
Palette Paper or Glazed Tile
Pencil
Sponge
Picture Frame Back (After Class)
Clear Adhesive-Aleene’s® 7800 Platinum Bond glue (After Class)
Paper Cups
Scissors
Contact Paper
28

Duncan Studio Basics: Kilns

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Duncan Studio Basics

ELECTRIC KILNS & DESIGN

Duncan Enterprises.5673 E. Shields Ave. Fresno, CA 93727 www.duncanceramics.com 82004

KILN SHUT-OFF DEVICES

3. Do not fire a kiln unattended.

4. Wear protective gloves when removing or seeing vent plugs.

6. Never attempt to open the lid of the kiln while in operation.

Duncan Enterprises.5673 E. Shields Ave. Fresno, CA 93727 www.duncanceramics.com 82004

KILN WASH IS APPLIED TO

4. Junior cones – Small cones designed for kiln sitters.

Duncan Enterprises.5673 E. Shields Ave. Fresno, CA 93727 www.duncanceramics.com 82004

• Use only once.

CONES AND TEMPERATURE

• Cone 020 is cooler than 019.

• Cone 6 is much hotter than cone 06.

WHAT CONE DOES YOUR PROJECT NEED?

CONE FIRING TABLE

CONE CENTIGRADE FAHRENHEIT

Duncan Enterprises.5673 E. Shields Ave. Fresno, CA 93727 www.duncanceramics.com 82004

PROJECT CONE RANGE

READING SHELF CONES

Guide cone 05 Firing cone 04 Guard cone 03

Duncan Enterprises.5673 E. Shields Ave. Fresno, CA 93727 www.duncanceramics.com 82004

HOW TO READ A CONE

Duncan Enterprises.5673 E. Shields Ave. Fresno, CA 93727 www.duncanceramics.com 82004

TO ENSURE CONSISTANT QUALITY RESULTS WE STRONGLY RECOMMEND THE

EARTHENWARE TO CONE 04 BISQUE

THE “MAGIC” INSIDE THE KILN

LOADING A KILN FOR CONE 04 BISQUE

Duncan Enterprises.5673 E. Shields Ave. Fresno, CA 93727 www.duncanceramics.com 82004

ADDITIONAL BISQUE-LOADING TIPS

Duncan Enterprises.5673 E. Shields Ave. Fresno, CA 93727 www.duncanceramics.com 82004

2. Remove and shelves and rewash with kiln wash as needed.

3. Vacuum the inside of kiln weekly or after every 5 or 6 firings.

General Rules for Firing Glaze:

Duncan Enterprises.5673 E. Shields Ave. Fresno, CA 93727 www.duncanceramics.com 82004

3. Cloudy Transparent Glaze:

6. Shiny Matte or Satin Glaze:

7. Smooth Textured Glaze or Rough Finish to Smooth Glaze:

Duncan Enterprises.5673 E. Shields Ave. Fresno, CA 93727 www.duncanceramics.com 82004

The Psychology of Color

Yellow – Is cheerful, stimulating and happy, and can become irritating if

Duncan Enterprises.5673 E. Shields Ave. Fresno, CA 93727 www.duncanceramics.com 82004

THE TWELVE COLOR FAMILIES

Tertiary: (pronounced tursh-eee-air-eee) Mixing together a primary color and

TERMS USED TO DESCRIBE COLOR

Duncan Enterprises.5673 E. Shields Ave. Fresno, CA 93727 www.duncanceramics.com 82004

HOW CAN YOU ALTER THE VALUE OF COLOR?

What effect does intensity create within a painting?

HOW CAN YOU ALTER THE INTENSITY OF A COLOR?

1. Adding black or white lowers the intensity.

Duncan Enterprises.5673 E. Shields Ave. Fresno, CA 93727 www.duncanceramics.com 82004

Polychromatic: Uses all of the colors in the spectrum.

Double Split Complementary: Differs from split complimentary in that you

Duncan Enterprises.5673 E. Shields Ave. Fresno, CA 93727 www.duncanceramics.com 82004

Analogous: (pronounced an-al-o-jus) This scheme consists of neighboring

Color Scheme Selection Tips

Duncan Enterprises.5673 E. Shields Ave. Fresno, CA 93727 www.duncanceramics.com 82004

Dipping Glaze Materials for a Home Studio or Small Shop

CONCEPTS® CLEAR DIPPING GLAZE (CN2000D):

• CN 2000D is tinted purple for easy identification.

Duncan Enterprises.5673 E. Shields Ave. Fresno, CA 93727 www.duncanceramics.com 82004

Controlling Dipping Glaze Viscosity