9.5: Types of Kilns and Locations
- Page ID
- 299321
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)Types of Kilns
Updraft Kilns
An updraft kiln is designed so that the heat source enters at the base of the kiln and exits through a flue at the top. The airflow travels upward, creating a convection effect. These kilns are easier to build and operate, making them a popular choice for smaller wood or gas kilns. However, they often experience uneven heating, with cooler temperatures at the top due to the lack of consistent heat circulation. Updraft kilns are ideal for achieving reduction effects, but careful loading and firing management are necessary to ensure even results.
Downdraft Kilns
A downdraft kiln directs heat upward from the burners or firebox at the base, but the heat is pulled downward by a flue positioned at the bottom. This design allows for better heat circulation and more even temperature distribution throughout the kiln. Downdraft kilns are commonly used for gas or wood firings and are favored by professionals for their ability to produce consistent glaze and clay body results. Though more complex to build and operate, they are versatile and allow for precise atmospheric control.
Cross-Draft Kilns
A cross-draft kiln combines elements of updraft and downdraft kilns. Heat enters from a firebox on one side, travels horizontally across the kiln chamber, and exits through a flue located at the opposite side. This design allows for distinctive flame patterns and surface effects, especially in wood firings, as the flames and ash travel across the pieces. Cross-draft kilns require careful loading and firing techniques, as temperature gradients can occur, but they offer unique aesthetic possibilities for ceramic surfaces.
Anagama Kiln
The anagama kiln is a traditional Japanese wood kiln with a long, tunnel-like chamber and a single firebox at one end. It relies on natural airflow and continuous stoking of wood to maintain high temperatures. The length of the chamber allows for varied effects, with pieces near the firebox exposed to heavy ash deposits and pieces farther away showing subtler results. Firing an anagama kiln can take several days and requires a team of skilled participants.
Noborigama Kiln
A noborigama kiln is a multi-chambered climbing kiln, often built on a slope to use gravity and airflow to its advantage. Each chamber is stoked independently, allowing for different atmospheres and effects within a single firing. This design provides greater control over temperature and surface effects and is ideal for large-scale or collaborative projects. Noborigama kilns are labor-intensive but offer diverse results across chambers.
Train Kiln
The train kiln is a more modern wood kiln design with a long, horizontal chamber and a firebox at one end. Its design facilitates efficient wood usage and consistent heat distribution along its length. Train kilns are popular for their relatively manageable firing process compared to traditional designs, while still producing the ash and flame effects associated with wood firing.
Catenary Arch Kiln
The catenary arch kiln features a self-supporting arch structure that efficiently retains heat. Often used for wood firings, this design minimizes heat loss and reduces the need for additional bracing. The arch shape allows for an even distribution of ash and flame, creating dynamic surfaces on ceramic pieces. These kilns are smaller and more efficient than anagama or noborigama designs but still require skilled operation.
Scale of Kiln Sizes
Small Kilns
- Capacity: Less than 1 cubic foot to around 6 cubic feet.
- Use: Ideal for beginners, hobbyists, or small studios, small kilns are often electric and used for low-fire or mid-range firings.
- Benefits: They are portable, affordable, and energy-efficient, making them suitable for small batches of work.
Medium Kilns
- Capacity: 6 to 20 cubic feet.
- Use: Popular for small production studios, medium kilns can accommodate a variety of functional ware and small sculptures.
- Benefits: Available in electric, gas, or wood designs, medium kilns balance capacity and manageability for individual or small team use.
Large Kilns
- Capacity: 20 cubic feet and above.
- Use: Designed for large-scale production or collaborative projects, large kilns are often used in schools, studios, or professional environments.
- Benefits: These kilns handle significant volumes of work and allow for more experimental or community-focused firings, but they require substantial space, fuel, and maintenance.
Each kiln type and size offers unique advantages, and selecting the right kiln depends on the artist’s firing goals, available space, and level of expertise.
Find a Kiln near you
Kiln share
Starting from a simple belief that not every potter needs to own a kiln, Kiln Share is on a mission to make kiln hire more accessible for potters all over the world!
Our goal is to …
- Help connect potters looking to rent kiln space to fire their work, with someone locally who owns a kiln
- Helping kiln owners earn extra income from renting out space in their kiln to local potters
Kiln Share is 100% FREE for both potters searching for kiln space to hire and for kiln owners who want to be listed in the directory. Kilns can be listed any where in the world!