Cordierite/Mullite vs. pizza stones or tiles

Description of the materials

Cordierite refractory shelves are generally combined with mullite to achieve low expansion rates.  These are most often manufactured as solid slabs, although there is an extruded version with hollow channels along the length, given the trade name corelite.

Cordierite is magnesium, iron and aluminium in a cyclosilicate form (or rings of tetrahedra).  It is named after its discoverer, Louis Cordier, who identified it in 1813.

cordierite/mullite shelves

Mullite is combined with cordierite in small amounts to increase strength and reduce the amount of expansion. It does this through the formation of needle shapes that interlock and resist thermal shock. It also provides mechanical strength.

Mullite was first described in 1924 and named for an occurrence on the Isle of Mull, Scotland, although it occurs elsewhere, usually in conjunction with volcanic deposits.   

Pizza Stones and Tiles

Pizza stones are a variant of baking stones where the food is placed on (sometimes heated) stones.  Baking stones are a variation on hot stone cooking, one of the oldest cooking techniques. The stones are normally unglazed tiles of varying thicknesses.  What is said of pizza stones also applies to tiles.

Characteristics

Pizza stones  

Ceramic tiles and pizza stones are essentially the same things.  Some tiles may be thinner, especially if they are not large. In both cases, the ceramic is a poor heat conductor and the thermal mass means care needs to be taken in rapid heating and cooling of tiles and of baking stones. These are dry pressed which give a coarser surface texture than cast shelves.  All these ceramics are generally fired at about 1100C, so they can withstand kiln forming temperatures.  They are adequate as small shelves, but will deform over larger areas over time.

Cordierite-Mullite kiln shelves and furniture.

This formulation of materials has an extremely low coefficient of thermal expansion that explains the outstanding thermal shock resistance of these kiln furniture materials. They are also strong although heavy. Cordierite/mullite shelves are sintered, to allow the mullite needles to form, and fired at 1400C+, higher than tiles.

This material can be cast, dry pressed or extruded.  Cast shelves are the cheapest of the methods and provides a smooth surface.  These are used for kilnforming glass, and low temperature ceramic firing. 

Dry pressed shelves have a higher temperature resistance than cast. For this reason, these are often marketed as ceramic shelves, even though the cast shelves are fine for smaller areas.  These are more expensive than the cast shelves.

Corelite, a brand name for extruded shelves with hollow channels, is often used where larger shelves are required, as the weight is less than the solid cordierite. Extruded shelves are ground smooth after forming.

pizza stones

Preparation

Pizza Stones and Tiles

Due to the thermal mass of pizza stones and the material's property as a poor heat conductor, care must be taken when firing.  Firing quickly can break the stone or tile.  The stone or tile should be fired slowly to just under the boiling point and soaked for a couple of hours to eliminate any dampness in the material.  This probably should be done each time kiln wash is applied.  Because it is porous, a baking stone or tile will absorb any liquid applied, including detergent. They should be cleaned with a dry brush and then plain water if further cleaning is necessary.

Pizza stones and tiles should be checked for having straight and level surfaces. It is not a priority for these to have flat surfaces as for glass and ceramics shelves.  If by placing a straight edge on the surface you can see slivers of light, the shelf needs to be smoothed.  You can do this by grinding two of the proposed shelves together with a bit of coarse grit between.  This best done wet to avoid the dust getting into the air.

Cordierite

Cordierite/mullite shelves do not need this level of preparation, unless they have been stored outside.  It is possible to kiln wash and air dry for a few hours before placing glass on the shelf and firing.  This difference is the low rate of expansion (CoLE 19, if you are interested).

corelite shelves

Corelite

The extruded corelite shelves are made with cordierite/mullite, but are more delicate due to the hollow channels along their length.  They should be fired slowly to just under the boiling point of water - to eliminate the moisture - then continue the slow rise to at least 260C/500F to avoid the crystobalite inversion.  It should be fired to 540C with a pause before going to the top temperature.  The shelf should be supported at 30cm intervals under the shelf to minimise breakage.  The whole surface of the shelf should be filled rather than having just one heavy piece; again this is to minimise breakage.

Revised 23.2.25

Flat Kiln Shelves

A question has been asked about using tiles in addition to standard kiln shelves to fire glass upon.  Yes, you can use the unglazed backs to fire on, assuming they are not ridged or in other ways not a regular surface.

It is important to have flat shelves, as ones with even small shallow depressions can promote bubbles at higher temperatures. Tiles for walls and floors do not need to be flat to do their intended job and so are not checked for be flatness.

A magnified view of a shelf surface that is not perfectly even

You can do a quick check for flatness, by placing a ruler on edge across the tile or shelf to see if any light comes through underneath the ruler.  The light areas are the places where the surface is lower than the rest.  A more certain way to determine flatness is to sprinkle a black powder on the shelf.  Then draw a straight edge across the shelf to reveal any black areas.  These are the places that the kiln has a depression.  

If the depressions are few and small you can make corrections in the surface of the tile by grinding.  Put two tiles back to back and grind them together. The initial grind will show you the high spots as they will have the grinding marks there. 

You can eliminate these higher areas by rubbing the tiles together with a coarse grit (ca. 80) between the tiles to speed the grinding. If you are concerned about the dust or don’t have good ventilation, you can make a slurry of the grit by adding water. When the whole surface has the same marks, both will be flat. To double check, sprinkle black powder on the shelf and repeat the test for flatness with a straight edge.  If it is not fully flat, repeat the grinding process and checking until the tile or shelf is flat.

This sounds time consuming and lots of effort, but you will be surprised at how quickly you can achieve flat smooth surfaces even on larger tiles.  This also works for larger kiln shelves.

Revised 23.2.25

Multiple Firings of Kiln Wash

Many people report that they fire multiple times on kiln wash that has not been renewed.  Most add coats over existing kiln wash.  They only remove all the kiln wash when it begins to crack, stick to the glass or gets divots.

We all know that kiln wash fired a second time to full fuse is likely to stick to the glass.  We also know that kiln wash fired to slumping temperatures lasts almost indefinitely.  The kaolin in the kiln wash that allows easy spreading, undergoes a gradual change from platelets to crystals with increasing temperature.  This begins at around 600C/1115F and is complete by 900C/1655F.  The crystalline version of kaolin sticks kiln wash to glass, but as the transition from platelet to crystal is so slow at the lower end of the range, kiln wash on slumping moulds does not exhibit the sticking behaviour even over very many firings.  But, as the temperature rises, the risk of there being enough crystals to stick the kiln wash to the glass also increases.  By full fuse temperatures the proportion of crystalline kaolin is high and becomes complete on the next firing.

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credit: Immerman Glass

It is possible to fire several times to tack fusing temperatures without experiencing the sticking behaviour of kiln wash.  However, the more times and the higher temperature used, the greater risk of kiln wash sticking.

Some people continue firing without adding additional layers of kiln wash until cracks, divots, or sticking occurs.  This leads to creating a fix after the failure of the kiln wash. This requires both finding a means of cleaning the kiln wash residue from the glass, and fixing the firing surface.

Others paint a layer of kiln wash on top of the existing separator before high temperature firings. This continues each firing with a fresh layer of kiln wash.  However, the same cracks, divots, and sticking occurs at some point, requiring a complete re-coating of the shelf, and getting the kiln wash off the glass.

credit: Sue McLeod Ceramics

Re-coating of a shelf takes a couple of minutes and can be done with simple tools.  A broad scraper will remove most of the kiln wash.  This can be followed by rubbing with an open weave sanding sheet as used for plaster board or other dry walling.  If you are worried about the dust – which has less risk than fibre papers – you can dampen the surface before beginning the cleaning process.

If the kiln wash has been on the shelf for many firings, it is more difficult to remove, requiring more effort than a single firing.  High temperature firings as for melts also make the kiln wash more difficult to remove. But the same process is used in these cases.

       

Kiln wash in firings at slump and low temperature tack fuses can be reused as many times as it remains smooth and undamaged since the temperature is not high enough to cause the chemical changes.

The ultimate benefits of renewing kiln wash are that not only less effort is required to clean and re-coat, than to fix pieces, and also the cost of kiln wash is significantly less than fibre papers.

Removing kiln wash

Applying kiln wash

Revisde 18.1.25

Replacement Kiln Vent Plugs

 

Replacement Kiln Vent Plugs

Accidents happen.  Sometimes the lightweight plug for the vent of a kiln gets dropped and broken.  You can replace this, whether brick or ceramic.

A quick solution is to roll up some fibre blanket or thick fibre paper into a roll large enough to fit into the hole.  This is enough to keep the heat from escaping and stop outside air flowing in.  If you leave excess outside the plug hole, it allows you to pull it out and view the interior as usual.  This will last quite a while and can be renewed easily.

A more permanent solution is to shape soft fire brick.  This can be shaped with a cheap saw. The brick is soft but very abrasive. So, use a cheap saw or an old one.  I keep an old saw especially for shaping bricks and vermiculite.  You could use 50mm/2 inch vermiculite in this way too, but firebrick this thick or more is easy to obtain.

Cut a cube from a fire brick.  This usually is about one third of a full brick.

Mark all around with a pencil how thick the shoulder (the outer part of the plug) should be. 25mm or 1 inch is thick enough.  It is possible to have it thicker if you wish.  The important element is that the outside part of the plug should not over balance the neck that fits into the vent channel.

Present the brick to the vent hole and twist a little, this will leave a mark to determine the diameter required. Alternatively, measure the inside diameter and draw this onto the end of the brick with a soft pencil or charcoal.

One end of brick cube marked, although a little off centre

Saw down to the shoulder mark on each of the four corners. Then make it eight corners. Test how well this adjustment fits to the hole.  It is probable that it is too big on the corners, but ok on the flat sides.

The first four corners sawn off to the shoulder

This is the time to use a wood rasp to round the multiple corners. Repeat the testing for size and adjusting until the plug fits the hole.  

The plug should not be tight.  It needs only a loose fitting so that it is easy to remove and put in.

Fit too tight to slide easily into the vent.

Finally, with 60 grit sandpaper round off any remaining corners.  Test and sand more off until it slides easily into the hole. This should not take more than a quarter of an hour to complete.

 

Fit just right. It slides in and out easily.

Spider Web Cracks

 

Credit ASTM

 The nature of the cracks - and spider web describes it perfectly - shows an adhesion problem. It is not an annealing problem as that shows a single sinuous line with a hook at each end. It is not a compatibility problem, as that shows as cracks or breaks along the edges of the combined glasses. It is not a thermal break, as those show as breaks where the glass has separated to some amount.

 

Glaze crazed in a ceramic vessel

 

The cracks are exactly like crazed glazes on ceramic objects. And for the same reason. The glass is trying to contract more than the underlying ceramic. It is stuck to the pores of the ceramic and creates a crack where there is a slightly weaker part of the glass. These cracks in ceramic glaze propagate across the surface as it wears, or in the kilnforming case as it cools.

 

Glass puddled in ceramic

 Most usually it results from a lack of separator in that area of the shelf, or uncoated kiln furniture. It indicates either the glass has adhered to the shelf or mould, or (rarely with fusing glass) that the glass has suffered severe devitrification.

 

 

 Occasionally there will be the appearance of shards of glass. This will be where the glass has stuck to some particle on the shelf. Sometimes it can be a speck of something resistant to the temperatures we use in kilnforming that “grabs” the glass and breaks it into shards from that point as the glass cools.

 It is not the schedule that causes the breaks. It is in the shelf preparation.

 The shelf should be cleaned of all the kiln wash and lightly sanded down to smooth. It should then be coated with four thin layers of kiln wash painted in a different direction for each layer. No drying is necessary or even advisable. All kiln furniture must be completely coated with kiln wash.

 If you are re-using a shelf, it must be swept clean before any glass is laid on it.

 Crazing results from the glass sticking to the surface it is resting on.

 

Some additional information:

https://glasstips.blogspot.com/2019/05/kiln-cleanliness.html

https://glasstips.blogspot.com/2020/07/crazing.html

 

Large Tiles for Kiln Shelves

Pizza stone in use

People frequently wonder if other materials than mullite can be used for kiln shelves.  Mullite is used for its strength and very small expansion, even at high temperatures, as used in ceramics firing.  There are other materials that can be used in kilnforming of glass such as refractory fibre board, and ceramic pizza stones,  the best of which are made from mullite.  This post is about using ceramic floor tiles.

An unglazed floor tile, 11 x 11 inches

Structural Soundness

A major element in obtaining and using a floor tile is how sound it is.  Tapping the tile to determine whether the sound is a low toned ring or a dull thud is important.  There may be invisible cracks within the tile.  A dull thud is an indication that the whole tile has one or more cracks in it, or that it has not been fired high enough to completely vitrify the clay. A low frequency tone indicates there are no cracks and that it has been fired sufficiently high.

Flatness

The first thing you need to do is make sure the ceramic tile is flat and without undulations before using it. To test this, get a straight edge and move it along the tile to look for any slivers of light coming through underneath the straight edge. Any light or variation in the amount indicates depressions that can produce bubbles during the firings. Do this test at least twice at right angles to each other.  Take note of the depressed areas (or even possibly high areas) to know where these uneven areas are to work them out of the tile. 

You can do the above test in the showroom.  Another more accurate means of checking is more difficult to do in a sales area.  Place a line of dark powder, say black glass powder, and with a straight edge held vertical to the shelf, drag the powder across the shelf.  Where there are dark patches is an indication of depressions.  The area and depth can be seen from the spread of the visible powder and to some extent the density of the colour.

Making Shelf Flat

If you buy two of these large tiles, you can rub them together face to face in circular motions. The abrasion marks will show the high spots, with the low spots clear of those marks.  This will indicate the amount of work needed to get the whole surface even.  The smaller the unmarked areas, the less grinding will be required. You can add an abrasive with some water to form a slurry and continue to grind until everything is even. The use of water with the abrasives is important to eliminate dust which might be harmful, and to ease the grinding process.

The above is a manual process.  If you have a large enough flat lap, you can mechanise the flattening process.  Using decreasing grit sizes, you can grind the shelves level with a high degree of smoothness. You do not have to use a grit of less than 200, as the tile structure is even more coarse than that.

If you can't find unglazed floor tiles, you need to look at the back of the tiles.  Many floor tiles have a grid pattern on the back to ensure sufficient adhesive is used.  This makes getting the back, unglazed side flat more difficult or time consuming, because they will need to have the grid ground down to the lower surface.  In this case, it may be that you need to sandblast the glazed side before making sure it is flat.  The sandblasting can make a flat tile uneven by unequal times spend on various parts of the tile, so you have to check after sandblasting for the flatness.

Kiln Maintenance

Switch off the kiln before doing any maintenance.

Before or after each use

Vacuum the inside of the kiln. Use a low suction setting, especially on fibre walls and ceilings. Stronger suction is possible when cleaning a brick floor.

Example of vacuuming around elements

Example of vacuuming lid without elements

An alternative to vacuuming the elements is to use the air compressor hose at low power to gently blow out any dust settled in the element grooves.  Do not do this for fibre insulated kilns, only brick.

Check on the kiln furniture – including shelves, boards, supports. Are they kiln washed and without scrapes, scratches, gaps? Has the kiln wash been fired to full fuse temperature? In both cases, clean the used kiln wash off the shelf and renew.

Check that the shelves and other kiln furniture are without cracks.

Clean kiln furniture of dust and debris.

Check the level of any item newly placed in the kiln - e.g., mould, or shelf replacement - with a spirit level.

Two examples of two-way spirit levels

 Check on the conditions and placement of the thermocouple.

Check on the elements.  Some may be sagging or hanging out of their channels.  Use tweezers to bring the coils closer together.  This shortens the length of the element and it then can be pushed back into the channel.  It may not have to be done after each firing, but checking will catch things before sagging becomes a major problem.

When the shelf paper is exhausted lift out the thicker papers and vacuum the shelf.  The Thinfire and Papyrus papers can be vacuumed directly or gently swept up and placed in a container for disposal.  Do not introduce any moisture to help reduce the dust.  This is not good for the kiln or you, as it could induce shorting out of the elements.

Monthly

Electrical parts: check the elements and their connections (normally at back or side).

First unplug or switch off the power to the kiln.

Check the screws on the connectors for the element tails are tight. Loose connections cause the wire to vibrate at the connection during the power phase. They heat up enough to melt the wire at the connection. For a single element kiln, it will simply lose power.  In multiple element kilns the remaining elements work much harder to achieve the temperature and provide uneven heating.

If the connectors are badly corroded , they need to be replaced.  This can be done without replacing the elements. Unscrew the connectors and put new ones on.  If the connector is fused to the element wire, you need to cut the wire as close to the connector as possible to maintain a length of wire for the new connector to be fixed.

Check the condition of leads and plugs supplying power to the kiln.  Make sure they are sound, not frayed and not kinked. Replace any frayed parts.  Take out any kinks in the power supply cable.

Any support pins or wires should be firmly seated in the brick work or supported by sound hangers.

Check the level of the kiln floor and internal shelves on a regular basis and every time the kiln and its internal furniture is moved.

Making a schedule of maintenance checks and noting the dates it was checked is a good idea for those who need reminders.

Formers

This post is not about the materials that go into the making of glass, but about ways of forming glass once melted or dripped into a space.

Formers are a bit different from moulds.  They are more like the formers used in concrete structures – they are there to resist the movement of the contained materials and give the form or shape desired rather than a natural flow.

These formers can be of anything that can resist the firing temperatures of the process.  Some of the materials are stainless steel, ceramics, fibre board and paper, vermiculite, kiln brick, and I am sure there are others.

Refractory Fibre

Most of these require a separator between themselves and the glass.  The ones which do not are untreated refractory fibre board and fibre paper. 

Most paper is not sufficiently strong to stand on its own. Instead it is used flat and the shape cut out of it.  It can be made in several layers and pinned together to achieve the height desired.  It should be lined in the interior with a thin fibre paper to avoid seeing the layers of the former in the edge of the glass.

For thicker work, fibre board can be used with the shape or form cut from it. Alternatively, it can be used on its side backed up by kiln brick or other material to resist movement. More information on methods and safety are here. 

If hardened, refractory board and paper will need separators between glass and former, just as most other materials will.

Sometimes the fibre board and fibre paper are not heavy enough to resist the flow of the glass.  You can use weights to help resist the movement.  At other times, the glass flows under the fibre and then you need something heavier.  Fortunately, there are a number of refractory materials that can be used.

Other common formers

Vermiculite board is another refractory material that can be cut and shaped much like fibre board.  The vermiculite needs to be covered with kiln wash where it might come into contact with glass or be lined with fibre paper or another separator.

Calcium silicate board can be used in much the same way.  It also needs a separator but does not stand up to such high temperatures as vermiculite.

Ceramics, especially in the form of cut up kiln shelves can be used as straight formers.  They have the advantage, over refractory fibre paper and boards, vermiculite and calcium silicate, of being heavy.  They can resist the movement of thick glass. They need to have a separator and usually a 3mm fibre paper, cut 3mm shorter than the final thickness of the piece, will provide the cushion in the movement that the glass needs.

Kiln brick is an often forgotten former.  The bricks can be cut and formed in many ways, even if not so freely as fibre board and paper.  The bricks do need fibre paper separators to keep the glass from getting into the pores of the brick.

Stainless steel is a common former too.  These are usually formed into an already determined shape and so are not so adaptable as many of the other formers.  Steel contracts much more than glass and needs a cushion of fibre paper, usually 3mm thick to avoid sticking to the glass.

More information on most of these formers can be found here.

Removing Kiln Wash from Shelves

There are at least three ways to remove kiln/batt wash from mullite kiln shelves.

One quick way is to use a broad wallpaper scraper held at a very acute angle to the shelf. This rapidly removes the separator. One down side to this method is that any uneven pressure can put a gouge into the surface of the shelf.

So a more gentle way to remove the wash is to use a drywall/plaster board sanding sheet or other open weave sanding material. This allows the powdered wash to come through the sanding material rather than clog it up. The disadvantage to this is that it takes longer to remove the wash, although it does leave a very smooth shelf after many sandings.

A third way is to wash off the kiln wash. This is relatively quick, but it gets the shelf wet and requires a longer period before the shelf becomes dry. You can, of course put the next application of kiln wash on as soon as the shelf is clean. They both can dry off at the same time.

Power tools used to clean kiln wash from the shelves can induce low points in the shelf which will promote bubbles during fusing.  It is recommended to avoid power tools in removing kiln wash.

Glass on Drop Rings

When glass drops through a ring, you need to check on some things relating to the placement and firing.

When thinking about the relationship between the size of the flat glass and the size of the aperture, you need to remember how the glass behaves as it heats up toward the drop temperature.

Glass behaviour

The glass begins to sag at the middle of the aperture, however the glass is still relatively stiff.  The weight of the rim is not enough to keep it from rising from the ring. The rim of the disc maintains the angle from the centre of the drop to the edge, until it gets hot enough for the weight of the rim to allow the edge of the disc to settle back down onto the ring.  This is the source of a lot of the stretch marks at the shoulder of drops.

Rim width

To avoid the glass dropping through, you need to have an adequately sized rim.  The width of the rim sitting on the ring, needs to be related to the size of the hole.  

The consequence of an inadequate rim

I have found that for apertures up to 300mm diameter there needs to be at least 35mm on the rim.  The consequence of this is that your blank diameter needs to be 70mm more than the hole diameter.  For larger apertures – up to 500mm – you need 50mm, or 100mm added to the diameter of the hole.  I do not have the experience to say how much more is required for larger diameter drop rings.  There is more discussion on blank sizes here. 

Heat

The rate at which you heat the glass and the top temperature both have effects on the possible drop through.  

High temperatures. The higher temperature you perform the drop out, the more likely you will need larger rims or other devices to reduce the drop through possibilities.  It also promotes excessive thinning below the shoulder. 

Fast rates. The surface will become hotter than the bottom, but at different rates.  The glass over the hole is heating from both top and (to a lesser extent) bottom.  The rim is sitting on the ring and so heats only from the top.  The differential in heat may cause a break.

Weight. The thickness of the glass effects when the drop will begin.  The heavier the glass and larger the hole, the effective weight will be greater.  In these cases, you can use a lower temperature for the drop.

Additional methods.  You can use other methods to reduce the chance of a drop through.  Two of them are:

Weights. You can put kiln furniture on the glass rim to keep it from rising during the initial stages of the drop.  These must be placed symmetrically. Four or six pieces of kiln washed props or small dams would be sufficient up to 300mm diameter.  More would be required for larger apertures.  Of course, these will mark the rim, meaning that it must be cut off.

Inclined rings. Another possibility is to use an inclined ring, with the glass resting on the upward incline, so the glass is held above the aperture and is heating evenly until the drop begins.