Temperature Equivalents of Orton Pyrometric Cones

The pyrometric cones used by ceramicists can be very useful for checking the temperatures within your kiln. Bullseye have a test described on their website for discovering the eveness of heat distribution in the kiln. The Orton cones can provide an alternate means of testing. This process will also test the accuracy of the temperature readings of you controller/output.

You need to place the cones on supports all around the kiln. Small cones, wich are most useful for this purpose have their own supports built in. The behaviour of the cones will indicate both the temperature achieved - if you fire them according to instructions - and where the hotter and cooler parts of your kiln are located.

You do need to make visual observations to determine when the cone has matured. So you begin checking about 20C - 15C below the indicated maturing temperature. What you will see is the point of the cone bending down. When the point of the cone is pointing directly down, the maturing temperature has been achieved.

You can now check the temperature that is recorded by your read out. Write that down some where. Switch the kiln off now, if you want to see what temperature differences there are within your kiln. You do not need to do any controlled cooling. When cool enough, you can open the kiln and observe where the temperature has differed, by the extent to which the cones are pointing down. If the cone has completely conformed to the edge of its support, it has been over fired. Those that do not point directly down, have not reached the maturing temperature.

The cone numbers that are useful for kiln forming are 022 - 011. Remember that to achieve the temperatures, the cones must be fired at the indicated rate. Any other firing rates will not give accurate temperatures, as the cones are measuring heat work.

Large Orton Cones fired at the rate of 60C/hr over the last 100C will give the following temperature equivalents:
019: 676
018: 712
017: 736
016: 769
015: 788
014: 807
013: 837
012: 858
011: 873

However if you fire large cones at 150C/hr over the last 100C, you will get the following temperature equivalents:
019: 693
018: 732
017: 761
016: 794
015: 816
014: 836
013: 859
012: 880
011: 892

You of course, get different temperatures for the small cones of the same numbers. The small cones must be fired at 300C/hr over the last 100C.
022: 630
021: 643
020: 666
019: 723
018: 752
017: 784
016: 825
015: 843
014: 870
013: 880
012: 900
011: 915

If you decide to use self supporting cones, the evidence you are looking for is slightly different. In this case, the cone has achieved the heat work when the point is level with the base. If you fire the self supporting cones at 60C/hr for the last 100C you will get the following temperature equivalents:
022: 586
021: 600
020: 626
019: 678
018: 715
017: 738
016: 772
015: 791
014: 807
013: 837
012: 861
011: 875

A wall chart is available from the manufacturer

Glueing Glass Pieces

The best solution is to avoid the use of glue completely. If you cannot, use as little as possible and make sure it burns out cleanly.

The glues to which kiln workers have normal access, do not survive to tack fusing temperatures. Therefore they can only be considered as a means to get the glass assembly to the kiln. The glue will not hold the pieces in place until the glass begins to stick, so the pieces must have a stable placement. If not, the pieces will slip, roll and move once the glue has burned out.

The second requirement of glues is that they burn out without leaving a residue.

Glues that have been used with little or no residue include:

Powdered CMC that can be disolved in warm water

-CMC (carbylmethylcellulose). It is a cellulose based binder used in a wide variety of industries, including food. For our purposes, it is also used in the ceramics industry and is often called glaze binder. It is a main constituent of "glas tac" from Bullseye. This can be made up into a viscous solution to catch and hold frits and other sprinkled elements in place.

- PVA (Polyvinyl Acetate) is water-based glue. It is sometimes known as school glue. It can be diluted to about 10parts water to 1 part PVA. This is sufficient to hold the glass pieces together with only a drop for each piece of glass. It does not work so well for small sprinkled elements.

One of many brands of  Ethyl Cyanoacrylate
 glue

- Super glue burns off with no concerns about cyanide. It should be used sparingly and also works best for pieces of glass.

One of many hair laquers in pump spray bottles

- Hair lacquer is normally applied as drops at the edges of the assembled pieces and so can be used to hold pieces of glass as well as sprinkled elements.

In all uses of glue the principles to remember are:
- Use the minimum to hold pieces together while getting the work into the kiln.
- Put the glue at the edges of the glass or where its combustion gasses can escape easily.
- And in all cases, you need to test to see if a residue is left on the glass at full fuse when using a new glue.

An alternative to glue is frit as described here.

Kiln Wash

Kiln forming techniques require separators between the glass and the shelf or mould on which it rests during the heating process. These separators have different generic names – kiln wash and batt wash are two.

There are a number of brands of kiln wash. All of them contain two main ingredients – alumina hydrate (sometimes called slaked alumina) and kaolin (also called china clay). Different producers use these ingredients in various proportions. 

A number of makes also include a colourant that changes when fired above certain temperatures to indicate the wash has been fired.  It also distinguishes between the unfired and the already fired kiln washed shelves.

An important thing to remember is that the kaolin changes its composition once it is fired over 600C/1113F. This change of composition is completed by 900C/1620F.  The change is progressive.  It is so slow that slumping and draping moulds coated with kiln wash will last indefinitely. However this change is great enough by 770C/1419F that the kiln wash sticks to the glass on the next firing. Thus, it is essential to change the kiln wash after every firing that reaches tack fusing temperatures or higher.

It is possible to apply a fresh coat of kiln wash over the old one to save time. However, as soon as the kiln wash flakes you must scrape off all the old kiln wash and apply a new coat to the bare shelf or mould.

Some makers use much less of the binder (china clay) than others which makes them better for the popular casting moulds than those for shelves and slumping moulds as they can be brushed away without abrasion.


In addition, boron nitride is a suitable release from moulds.  It is very stable at reltively high temperatures and so can provide a smooth, "slippery" separator between the glass and its supports, whether shelves, moulds or kiln furniture.  It does seal porous surfaces, meaning that air cannot move through the treated surfaces.  It has to be removed with abrasion and so thought must be given to which surfaces it is applied.

Borax solutions

A borax solution can act as a devitrification spray. That is its usual application in kiln forming.  But it can be used in other ways too.

Borax is a flux helping to reduce the firing temperature of glass. So, it can be used as a medium for powdered mica which can be painted or sprayed onto the glass. It also helps reduce the oxidisation of included metals.

Obtain borax that has no additives. Put a couple of teaspoons into water and bring to a simmer. Remove from the heat and cool. Decant the almost clear liquid off the sediment and you have a saturated solution of borax ready to use. 

If you are really parsimonious, you can add water to the crystals remaining in the pot and heat to get another saturated solution. You could do this until there was no residue, but that would get tedious.

Add a couple of drops of washing up liquid to the solution. This is enough to break the solution's surface tension. It helps to give an even distribution of the solution across the clean glass by reducing the beading of the liquid that otherwise occurs.

You can paint the solution onto the material - glass or metal - with a soft brush such as a hake brush, or you can spray it on with a pump spray container.  Be careful to clean the spray container immediately, as borax crystals form quickly.

Permanance 

Description of devitrification
Temperature range

Characteristics

Brown Ceramic Fibre Paper and Board

A frequent concern about fibre board and fibre paper that appears brown when peeking into the kiln is that something has gone wrong.

Ceramic fibre papers and boards have organic binders that have to burn out during the firing. What starts as white later turns brown as the binders are burning out – often the smell is like burning paper. As the binders burn away, the fibre paper or board returns to its original colour.

The amount of smell or smoke is dependent on the amount of ceramic fibre you have in the kiln. If you have a thick board, you should think of venting the room, as there will be a lot of smoke.

Also if you are firing a large piece of glass, you should think of firing the binders out of the ceramic fibre before placing the glass on top. If you do not, the binders may not fully burn out, leaving marks of the smoke fired into your glass.

Fibre Board for Kiln Shelves

Some advantages of fibre board:

• It is light weight making it easy to move.
• Fibre board has very good cooling characteristics as it doesn't hold the heat the same way a mullite shelf does.
• The board is fragile, but with care can last years.
• Fibre board shelves do not thermal shock as ceramic based shelves can.

Considerations for use:

• If it will be moved it needs hardening.
• It needs repeated sanding and hardening for a really smooth surface. Alternatively you can smooth on something like batt/kiln wash or alumina hydrate for each firing.
• It needs to be supported on kiln posts at 100 mm intervals.

You need to use dust masks when ever working with fibre board.

Some disadvantages of fibre board:

• The board can warp over time even when supported every 100 mm.
• The board will warp over time if placed on the kiln floor.
• The board needs to be thick - at least 25mm, thicker for larger kilns.
• It can't be scraped clean of batt/kiln wash.
• Ceramic fibre board is possibly not much cheaper than mullite shelves.

Sands for Texture

Firing on sand can give an even stippled texture. It can also provide immediate, free form textures and shallow shapes. You can use different sized grains for variations in texture size. So it can be a quick, responsive medium to give textures and shallow shape to the glass.

Although you can fire on sand, you must use a separator. When I fire directly onto the sand for texture, I dust alumina hydrate over the sand. People who watch me dust it through a sock have a laugh, but it does work to provide a fine layer of separator, so that any sand picked up by the finished glass can be removed as it is not fused to the glass. Sometimes it takes a bit of cleaning effort.

There are a number of sands that you can use, although all require a surface separator.

Silica sand is the kind of sand found on a beach and is the most commonly used sand. It is the most commonly used sand because of its great abundance and low cost. Its disadvantages are high thermal expansion and low thermal conductivity which requires caution in annealing the glass.

Olivine sand is a mixture of orthosilicates of iron and magnesium from the mineral dunite. Its main advantage is that it is free from silica, although a separator is still required. Other advantages include a low thermal expansion, high thermal conductivity, and high fusion point. Finally, it is safer to use than silica.

Chromite sand is a form of magnesium aluminium. Its advantages are a low percentage of silica, a very high fusion point, and a very high thermal conductivity. Its disadvantage is its cost.

Zircon sand is a compound of approximately two-thirds zircon oxide and one-third silica. It has the highest fusion point of all the refactory sands, a very low thermal expansion, and a high thermal conductivity. However, it is expensive and not easily available

Chamotte sand is made from previously fired clay. It has a relatively high fusion point and has low thermal expansion. It is the second cheapest sand, however it is still twice as expensive as silica sand. Its disadvantages are coarse grains.

Kiln Furniture

You do not have to buy all your kiln furniture. Any refractory material – any heat resistant material that will stand up to the forming temperatures – that you have from broken shelves or used material will do.

The advantage to home made kiln furniture is that you can have exactly the shape you want. There are a number of possibilities.

Example of broken shelves

 Broken kiln shelves can provide supports and dams. They can be cut with a tile saw to give long strips that can be used as dams. Smaller squares and rectangles can be stacked to give height to other supports for the glass.

Cutting a shelf with a hand saw

25mm vermiculite board

Vermiculite in the form of a pressed board provides a medium strength kiln furniture. It can be cut with a wood saw, although it dulls cutting tools quickly. The board can also be carved with wood working tools although it is very abrasive, requiring tools to be sharpened before use on wood again.

25mm ceramic fibre board

Fibre board is not as strong or rigid as kiln shelves and vermiculite are, but is much more adaptable to curves and undulations. They can be cut with a knife and used with or without hardener – colloidal silica. If the hardener is used some kind of separator will be required to keep the glass from sticking. Dust masks are required for working with ceramic fibres.

Soft fire brick

Soft fire brick can be cut with a hand saw into many shapes and and sizes. They are suitable as supports and braces for dams.  There are also higher density bricks that are much heavier to resist the movement of dams.

3mm fibre paper

Fibre paper can be cut and stacked to provide shims to level shelves and moulds. Shapes can be cut into stacked layers of the material to provide dams for irregular shaped projects.

Aperture Drop Supports

The supports for aperture drops need to be rigid at tack fusing temperatures. A number of materials are rigid enough to maintain their form. Those such as ceramic, or fibre board are commonly available. The ceramic forms can be purchased from various suppliers. Fibre board can be carved in a number of shapes and so are more versatile. They are more flexible than ceramic so need careful support.

The supports also need to be of such a material that will not trap the glass when cooling. This makes metals unsuitable for use as drop supports. The metal contracts more on cooling than the glass does, and so traps or crushes the dropped part of the glass.

Note that the supporting structure does not have to be flat. It could slope toward the centre, or could be curved down on the outside. The permutations are up to your imagination.

The other element of support is the material to hold the support surface above the kiln floor. These supports need to be stable so should have a relatively broad base in relation to the height of the support. Two good kinds of supports are kiln posts and fire brick sawn to the appropriate height. There other possibilities to create home made kiln furniture. [qv]

Note that it is important to kiln wash all the supporting materials to avoid any glass getting stuck to them.

Fibre Papers

As there always is concern about the health effects of ceramic fibre paper, the report I prepared for a supplier may be of interest.  It can be found here.

Plaster Properties - Effect of Plaster-Water Ratio

Plaster-water ratio (by weight) of 100 plaster to 30 water gives:
a setting time of 1.75 mins,
a compression strength of 813 kg/sq cm., and
a density of 1806 kg/cubic metre

Plaster-water ratio (by weight) of 100 plaster to 40 water gives
a setting time of 3.25 mins,
a compression strength of 477 kg/sq cm., and
a density of 1548 kg/cubic metre

Plaster-water ratio (by weight) of 100 plaster to 50 water gives
a setting time of 5.25 mins,
a compression strength of 318 kg/sq cm., and
a density of 1352 kg/cubic metre

Plaster-water ratio (by weight) of 100 plaster to 60 water gives
a setting time of 7.24 mins,
a compression strength of 230kg/sq cm., and
a density of 1207 kg/cubic metre

Plaster-water ratio (by weight) of 100 plaster to 70 water gives
a setting time of 8.75 mins,
a compression strength of 176 kg/sq cm., and
a density of 1083 kg/cubic metre

Plaster-water ratio (by weight) of 100 plaster to 80 water gives
a setting time of 10.5 mins,
a compression strength of 127 kg/sq cm., and
a density of 990 kg/cubic metre

Plaster-water ratio (by weight) of 100 plaster to 90 water gives
a setting time of 12 mins,
a compression strength of 99 kg/sq cm., and
a density of 908 kg/cubic metre

Plaster-water ratio (by weight) of 100 plaster to 100 water gives
a setting time of 13.75 mins,
a compression strength of 70 kg/sq cm., and
a density of 867 kg/cubic metre

Properties of Typical Gypsum Plasters and Cements

No. 1 pottery plaster
Water to be added as % of dry mix by weight - 70%
Setting time - 27-37 mins
Dry density (kg/cubic metre) - 1106
% expansion on setting - 0.21
Compressive strength (kg/sq cm) - 127.26


No. 1 molding plaster
Water to be added as % of dry mix by weight - 70%
Setting time - 27-37 mins
Dry density (kg/cubic metre) - 1106
% expansion on setting - 0.20
Compressive strength (kg/sq cm) - 141

Plaster of Paris
Water to be added as % of dry mix by weight - 70%
Setting time - 27-37 mins
Dry density (kg/cubic metre) - 1106
% expansion on setting - 0.20
Compressive strength (kg/sq cm) - 141

No. 1 Casting plaster
Water to be added as % of dry mix by weight - 65%
Setting time - 27-37 mins
Dry density (kg/cubic metre) - 1162
% expansion on setting - 0.22
Compressive strength (kg/sq cm) - 170

Pottery plaster
Water to be added as % of dry mix by weight - 74%
Setting time - 27-37 mins
Dry density (kg/cubic metre) - 1057
% expansion on setting - 0.19
Compressive strength (kg/sq cm) - 127

Hydrocal cement
Water to be added as % of dry mix by weight - 45%
Setting time - 25-35 mins
Dry density (kg/cubic metre) - 1442
% expansion on setting - 0.39
Compressive strength (kg/sq cm) - 35

Hydroperm cement
Water to be added as % of dry mix by weight - 10%
Setting time - 12-19 mins
Dry density (kg/cubic metre) - <641
% expansion on setting - 0.14
Compressive strength (kg/sq cm) -


Hydro-Stone cement
Water to be added as % of dry mix by weight - 32%
Setting time - 17-20 mins
Dry density (kg/cubic metre) - 1914
% expansion on setting - 0.24
Compressive strength (kg/sq cm) - 707

Ultracal cement (30)
Water to be added as % of dry mix by weight - 38%
Setting time - 25-35 mins
Dry density (kg/cubic metre) - 1588
% expansion on setting - 0.08
Compressive strength (kg/sq cm) - 424

Disposal of Used Bullseye Thinfire

The main ingredients of Bullseye’s Thinfire are cellulose, aluminum hydroxide, fiber glass, and organic binders. It is predominately a nuisance dust and irritant.

Use a vacuum sweeper with a high efficiency filter and a bag rated for plaster dust. Also many vacuums with a HEPA filter system will be sufficient. Wrap the disposable bag in another -preferably paper - bag to avoid dispersing the dust when it goes into the rubbish.