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KERAMIC STUDIO 
BEGINNERS' CORNER 
JESSIE M. BARD ------ Page Editor 
Dickinson Seminary, Williamsport, Pa. 
NOTES ON FIRING 
"p\IRECTIONS for operating the kiln are sent with it so 
-L' it is not necessary to take up that part of the subject. 
The heat in different kilns is not- alike so it is necessary to learn 
the hottest places in the kiln before doing any particular firing. 
It is best to put only a few pieces of china in the kiln for the 
first firing and they should be those that do not need careful 
firing. Gold work, or pieces that have colors which do not 
over-fire easily, such as blues and greens, are good for this fire. 
Gold should have a rather hot fire for the first time and a 
light one for second fire. 
Gold on Belleek ware is very easily overfired and should 
be just a little more than baked in. Blues and greens can be 
put in the hottest place in the kiln which is usually at the back 
and near the floor, it is cooler near the top and in the front. 
Some yellows weaken if fired too hot and should have a light 
fire. Pink requires the most careful fire, for it requires just a 
certain heat whereas with other colors a little more or less heat 
does not matter. If pink is overfired it has a bluish tint and 
if underfired is a bricky red. It requires a rose heat, just a 
little hotter than for gold. 
Belleek ware requires about the same heat as the pink. 
Satsuma is fired at just the same heat as the china, de- 
pending on the decoration that is on it. 
Green Seji ware is a little softer than china and should 
not be given the very hottest place in the kiln though it can be 
fired almost as hot as china. 
Enamels require almost the hottest place if the heat is 
not carried very high. 
Some people test the heat with cones, pointed pieces of 
fire clay which melt at different heats, they are placed in 
the kiln in such a position that they can be watched during the 
firing and when the heat is reached the cone will melt down 
which is the signal to turn off the heat. Cones are not neces- 
sary, they take up valuable room in the kiln, most people 
watch the color of the inside of the kiln and regulate it in that 
way. After firing from a half to three-quarters of an hour 
the kiln will begin to get red inside and after it is a good red a 
hazy color will come over it, this is the heat that should be 
attained for the pinks. After the haze, there will be a white 
glow, this is a very hot fire and cannot be used for last fire. 
Pieces should be arranged in the kiln according to the 
heat they require, those requiring the hottest fire should be 
placed in the hottest place and others accordingly. 
Different sized stilts will be sent with the kiln. These are 
used to put between pieces in stacking in order to have a cur- 
rent of air around the pieces to prevent cracking and also to 
prevent one piece from leaving marks on another, this is only 
necessary where the paint is heavy, it does not matter if one 
piece of china touches another unless it touches a painted 
surface. 
Belleek must not touch anything or the two pieces touch- 
ing will stick together. 
The Satsuma ware is not very hard and it is best not to 
stack much weight on it, only light pieces should be placed on it. 
Platten is splendid to use in stacking, it comes in large sheets 
and can be cut to any size piece. Platten is safer than stilts 
when stacking one piece on top of another because it is more 
steady and sometimes the stilts leave marks where they touch 
the china which the platten does not do. 
Do not use stilts on Satsuma, Belleek ware or Seji as they 
leave marks. 
It is best to place a heavy piece of china on a stilt so the 
heat can go under it and cause the whole to heat evenly and 
prevent cracking. 
PLATE DESIGN BY VERA STONE 
THE outline, heavy band and center of leaf are black. 
Oil the smallest circles in background and dust with 
Mode. Oil leaf and dust with Florentine Green. Oil largest 
circles and dust with Yellow for Dusting or 4 parts Ivory 
Glaze and 1 part Albert Yellow. The remaining circles are 
dusted with Deep Ivory. Paint edge between two outer lines 
with Dark Grey and a little Yellow Brown. 
PLATE DESIGN— VERA STONE 
