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Ask Arnold: Arnold's Firebrick Repair Toolkit
Ask Arnold

Ask Arnold: Arnold's Firebrick Repair Toolkit

Gail Stouffer

  Kiln Pointer from Paragon: Arnold's Firebrick Repair Toolbox ------------------------------------------------------------------------------------------------------------- Contents A Firebrick Repair Toolbox Book Recommendation: "Clay: A Studio Handbook" Reader Response Firebrick Repair Toolbox -------------------------------------------------------------------------------------------------------------      A Firebrick Repair Toolbox Ever since I left Paragon and became an independent kiln technician, hunting for tools has been my biggest waste of time. So I have sorted my kiln tools into four tool boxes (along with a vacuum cleaner and air compressor). Recently I put all of my firebrick tools into one box where I can find them instantly. Here they are, going clockwise from left to right in the photo: Plastic or Aluminum Foil Tray: It should be large enough to dip firebrick pieces into kiln cement. This is much faster than applying the cement with a putty knife. You have to work quickly, or the cement will begin to set before the repair parts are pressed together. The faster you work, the better the bond. Kiln Wash: Apply to the firebrick kiln bottom and the Kiln Sitter cone supports. Kiln wash looks like kiln cement. IMPORTANT: Keep these powders separated and clearly marked. Spray Bottle: Spray a little water onto firebrick parts that you are cementing together. This helps the cement to adhere to the firebricks. If you work fast, you won’t need the water at all. Plastic Cups: If you don’t have these, you will constantly hunt for a container to mix the cement in. Clean and reuse indefinitely. 2” Paint Brush: Thin kiln cement to coffee cream consistency. Then brush onto surfaces that you want to harden, such as the top of sidewalls in a top-loading kiln. Immediately wipe off the cement with a rag. Paragon Liquid Kiln Cement: I like the liquid kiln repair cement, because it’s fast and convenient. This is the very same cement used in the Paragon factory. Scrap Firebricks: Cut pieces to replace broken sections in a kiln. Paragon Dry Kiln Cement: This is for when you run out of liquid kiln cement. You can also mix the powder to the exact consistency that you want. Rag: For wiping off kiln coating and for general clean up. Repairing firebricks is messy. Paint Mixing Stick: For mixing kiln cement and kiln wash. Stir kiln wash constantly as you use it. DeWalt DWHT20542 Multi-saw: This comes with a coarse blade and a hacksaw blade. Use it to cut firebricks. I found this at Home Depot. You can find other brands, of course. 3M Sanding Block: Medium grit sandpaper works well in shaping firebricks. 3M Sponge Sanding Block: Sand the edges of firebrick lid grooves to remove loose debris. You can cut the sponge to the size you need.  Marinade Injector: I found the “Good Cook Flavor Injector” at Tom Thumb. Use it to inject kiln cement deep into the cracks in firebrick kiln walls and floor. I will cover this in detail another time. HEPA Vacuum Cleaner and HEPA mask (not shown): Wear the mask when working around firebrick powder. Vacuum firebrick parts before cementing.   Book Recommendation: "Clay: A Studio Handbook" Vince Pitelka, well-known for his teaching and his contributions to Clay Times, here tells you more than you ever thought you needed to know about pottery. He shares a lifetime of knowledge. Click here to see much more about Vince's book   Reader Response Last week I wrote that I left Paragon in August, 2019 to become an independent kiln technician in the Dallas - San Antonio, Texas area. The day after I left Paragon, I was replacing elements at a school in Fort Worth. I also wrote that doing something creative helps one to forget the daily news. A few of the responses from readers-- “Many thanks, Arnold, for your Kiln Pointers and also your paragraph on facing world events,” wrote Ruth Canham of Nahiku Art Glass in Hawaii. “I don’t know how I would have made in through the last couple of weeks without having my kiln to keep me busy. First, I took on the challenge of trying strip construction with reactive glass. After that I went on to making whimsical birds. It’s kind of freeing in a weird way to have the galleries closed. Time to play.” ---------- “Thanks for sharing the electrical knowledge,” wrote Alexander Riedel. “Many are terrified of electricity when it can really be very simple if you know what to look for and how to do it safely. “From my experience working on industrial foundry ovens,” Alexander continued, “it’s always something incredibly simple when it comes to electrical problems. It just takes a while to chase it down: a loose connection, limit switches slipping from loosening, fouled relay contacts, a wire or nut that loosened from expansion/contraction, overheated or broken elements. I also really enjoyed the quote about the studio being a place away from reality.”  ---------- “The nose told the story,” wrote Fujie Robesky. “Great detective work. Good to hear you’re still working in what you obviously love.” ---------- “The Kiln Pointer email was a breath of fresh air!” wrote Andy Reeves ---------- “No telling what changes we will see from all this," wrote Pattie Necaise about the virus. “I think there will be good changes. We just might value people more than things.” ---------- “It was good to hear from you, like hearing from an old friend, although we’ve never met. Thanks so much for the many pointers through the years,” wrote Colleen Gilligan Gilbert of Cypress, Texas. “I work at a non-profit that serves adults with intellectual disabilities, and I help them earn a paycheck by making and selling fused glass,” she explained. “We have three big Paragon kilns--two Ovations and a Pearl-44. We got the first Ovation on my first day here over 10 years ago. We have used the heck out of these kilns, firing them every afternoon. “Right now it’s very quiet here, as all our folks are staying away from our Learning Activity Center for their own health and safety. I continue to do paperwork, and look forward to the hustle and bustle of their return.”   The Rain in Mesquite This morning before dawn, I sat in my sunroom listening to the rain. It drummed softly on the steel roof and splashed into a puddle outside. I felt like I was in the steel-roofed A-frame that I built in Leilani Estates near Pahoa, Hawaii. The rain fell in sheets there. The rain cleanses the world and sounds comforting.   Thank you, Arnold Howard Mobile 972-333-1437 www.instagram.com/arnoldhowardkilns www.facebook.com/arnoldhoward

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Dead Short in a Kiln
Ask Arnold

Hunting for a Dead Short in a Kiln

This post was written by Arnold Howard, a former employee at Paragon Industries who is now an independent kiln technician at Howard Kiln Services.  The owner of a Paragon A-24B called to tell me he saw sparks flash inside the switch box on his kiln, and the circuit breaker tripped. He could see the flash through the ventilation louvers on the side of the box. “It made a loud noise that scared the hell out of me,” he said. “It happened when I turned the bottom switch to high.”   “Your kiln has a dead short,” I told him. A dead short causes a large amount of electricity to flow suddenly through the wires. This shuts off the circuit breaker for your kiln because the surge of electricity is much greater than the amperage rating of the circuit breaker. A dead short usually happens when the protective insulation on a wire has been damaged, and the bare wire touches either another wire, an element connector, or the steel case of the kiln.   After arriving at the customer's home, the first thing I did was open the switch box by removing hex-head screws with a 1/4” nut driver. The screws are on the sides of the switch box of most kilns. You can buy the 1/4” nut driver from a hardware store. Some brands of kilns require a different size nut driver. If the size you need is not available locally, you can order one online. This may be the case overseas as the 1/4” size is uncommon there.     Remember, always BE SAFE! If you ever remove the switch box on your kiln, first unplug the kiln. This is essential because otherwise you will be exposed to live wires inside the opened box.   In the first photo, you can see the element connectors, which are small brass barrels with a screw-on each end. Notice that a wire is attached to each connector. In the A-24B, those wires go to switches. In digital kilns, the wires go to relays, which turn the elements on and off.   Lying on the garage floor, under the shadow of my lamplight, I hunted for the dead short. Since the sparks flashed when the bottom switch was turned to high, I started my search at the bottom of the switch box.   In the second photo, you can see where the short occurred. Look at the element connector in the bottom center half of the photo. It is the blackened brass barrel that is against a white porcelain insulator. The element connectors are the hottest items in the switch box. If a wire touches an element connector, the insulation on the wire can eventually burn off and cause a dead short.   In the bottom right corner of the photo is a red wire with a burned spot. That burned spot is where the wire touched the element connector. The spark blackened the connector.   With any routine kiln maintenance, you or your kiln technician will need to open the switch box or protective cover panel on your kiln if you ever change a thermocouple, relay, switch, or repair a damaged wire. As you can see from the photos, it is important that as you reinstall the switch box or panel onto the kiln, check that the wires will not touch an element connector.   To be sure that the wires would not touch element connectors or the kiln case, I looked at the wires from the side while closing the switch box, tucking some of the wires out of the way inside the box. Then I carefully positioned the switch box on the kiln and installed the screws. You might want to shine a flashlight into ventilation slots or louvers to check the position of the wires one last time after you have reinstalled the switch box.   As you can see from this story, major kiln problems can be avoided by taking just a moment to check the small details whenever anyone works on your kiln.   Thanks, Arnold! 

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Moving Your Studio Kiln... and other crazy annoying things!
Arnold Howard

Moving Your Studio Kiln... and other crazy annoying things!

It's a fact of life that humans are nomadic. We try to settle down in one place, but as comfortable as we get, we eventually pick up all of our stuff and move it to another location. As an artist I am certainly not immune to this condition. Over the last 15 years I will have moved my studio 4 times. First my home, then my first real studio out of my house - 8 years, then the next one - 3 years, now this one - 2 years. The reasons always seem legitimate; bigger space, which eventually raised rents too high, then less expensive space, which eventually proved to be too far to travel (45 minutes each way) The current space is close to home (8 minutes!) but alas, crowded. Nothing is every perfect it seems.... so we move to create a more perfect situation. This brings me to the point of this blog; moving the most important thing in everyone's studio.... the kiln. Just thinking about how to move a kiln brings a lump to the throat. It makes even the most relaxed person a little nervous. You might think that small kilns would be a "no-brainer" to move, but they can be damaged too. Often, it's the items we don't go out of our way to protect that become the most damaged.    Arnold Howard, Engineer Extraordinaire from Paragon posted a blog a few years ago that covered this really well. He states,"The main concern in moving a kiln is brick damage, especially to the lid. The wiring is usually not affected by a move." Those of us with Fiber kilns also need to take great care to not dent the or damage fiber exterior! Here's what to do: ..."Sandwich a 1/16" thick sheet of foam packing between the kiln body and the lid." (This is the stuff that comes in rolls at the office supply store, or at home depot.) "The foam sheet must extend under the lid completely so that no section of the lid touches the kiln walls. This is very important. I have seen kilns sent to the factory without the protective sheet under the lid. The kilns were always damaged. If you are moving a front-loading kiln, place the foam sheet between the door and firing chamber." Strap the tip or door down and wrap the entire small kiln in a blanket. Then place the kiln in your trunk surrounded by blankets and towels with no other hard objects in the area. Then proceed to your destination.   If you are moving a larger kiln, follow the same instructions for the smaller kiln, and then,...."Lay a 1" thick piece of Styrofoam board over a wooden pallet. Then place the kiln on the Styrofoam. (The Styrofoam and pallet must be large enough for the entire kiln.) On top of the kiln lid, place one or two sheets of 1" thick Styrofoam, and on top of that, a light-weight pallet. Then band the two pallets tightly. If you are moving the kiln a long distance, you could nail vertical 1x4 boards at the corners to form a crate. Then add diagonal boards on the sides for stability." I love this video, also from Paragon which shows how to crate a kiln! He also states, "Do not place anything inside the kiln during a move, especially shelves and posts. Unless your kiln is securely crated, do not place anything on top of it. Place the kiln near the front of a truck or trailer where the ride is smoother."   For those of you who are moving your studio... best of luck! It will all be over soon!   Your Kiln Gal,  Gail

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