Paragon Ceramic Fiber Jewelry Kiln Instruction & Service Manual
Contents
1. Replacing the firing chamber is a factory repair Please call 800 876 4328 or 972 288 7557 for instructions or see the dealer who sold you the kiln 19 Paragon Kiln Limited Warranty Paragon kilns are warranted to the original pur chaser by Paragon Industries Inc herein Para gon subject to the listed exclusions below to be free of defects in workmanship for the periods specified be low The warranty period begins from date of shipment from the Paragon factory unless date of original pur chase from an authorized Paragon distributor or dealer can be established Warranty Period J series SC series 1 year This warranty period applies unless otherwise agreed to in writing This warranty excludes 1 Kilns or furnaces dam aged by overfiring exceeding the melting temperature of the material being fired regardless of cause of overfiring 2 Ware tools kiln furniture or anything inside damaged by overfire 3 Kilns allowed to exceed the maximum temperature shown on kiln s nameplate regardless of cause 4 Kilns subjected to abuse ne glect freight damage or improper storage 5 Kilns used for either reduction or salt firing 6 Kilns dam aged by improper electrical installation 7 Kilns used for purposes other than firing ceramics glass heat treating or the purpose for which it was intended 8 Element burnout caused by contact with foreign mate rials 9 The patented Dawson Kiln Sitter and or L2. A slow bisque fire is always better for ware that is to be china painted The greenware should be completely dry before being placed in the kiln Purple Spots in Gold Usually due to a thin application of gold or too much thin ner If gold is applied accidentally to an area it will show pur ple after being fired unless cleaned with a good gold re mover Broken Lines in Gold Can be caused by overfiring or too heavy an application However this can be very attractive when gold is crackled over a dark color of fired glaze Peeling China Paint Can be caused by the paint being applied too heavily Loss of Color in China Paints Usually a result of overfiring or thinning your paint with too much medium when applying Faded Colors in Overglaze Decals This is the result of either underfiring or overfiring If pinks and reds are drab refire to a hotter cone When used with a china paint background apply and fire the decals first then china paint and fire again Check the recommendations of decal supplier If decal was underfired refire to proper fir ing cone If decal was overfired the design may be repainted in china paints and refired Weakening of Luster Colors This can be caused by overfiring White Spots in Lusters or Metals Can be caused by moisture on the ware before it was placed in the kiln or from having been fired at the same time as other overglazes Note Apply lusters only on a dry day Powdering of Lust
3. Note Ceramic shelves and bowls and insulating firebricks may slow the firing They absorb more heat than the ceramic fiber shelf They also cool more slowly than the fiber shelf Applying Glass Separator or Kiln Wash Glass and ceramics are fired on a fireclay kiln shelf and not directly on the kiln bottom You can also slump glass over a mold such as a bowl The kiln shelf and sagging mold must be coated with glass separator to keep glass or ceramic glaze from sticking to them A coat of glass separator or kiln wash will usually last through several firings When en ee the shelf coating begins to Mae crack or chip apply a fresh PEA Sede coat sa c When recoating a shelf re p mele most one ai GOALS Separator lasts through several with grit cloth available from glass firings Apply new separator Paragon This is an abra whentheoldcoat begins to flake sive coated mesh that allows residue to pass through Removing the old coating gives you a smooth surface to start with Then recoat the shelf using the following directions Both glass separator and kiln wash will be referred to as separator Caution Do not apply glass separator or kiln wash to the ceramic fiber firing chamber or to the bottom of the shelf Contact with glass separator or kiln wash can ruin the embedded heating element Note Do not coat the soft ceramic fiber shelf with separator If you are firing only silver or gol
4. The enamel must dry completely before firing Spatula or Inlaid Method You can use this method to decorate a small area with many different colors Using a diluted solution of Thompson holding agent dampen the enamels just to the saturation point and maintain this moisture while working with the enamels Apply the enamels onto the copper with a small spatula and spread them out with a spreader to a coat of about 1 32 thick Lines of contact can be formed by the spatula blade Then spray the enamels with the holding agent to keep the grains of enamel in place Allow the enamel to dry completely before firing Firing Enamel 1 Heat the kiln to 1450 F 787 C for most enameling Use a Single Segment Please see your digital con troller instruction manual Rate Temp Segment F C F C Hold 1 1799 999 1450 787 01 00 Note Hold time should be the length of time you will be inserting enameling into the kiln In the above example hold time is for a one hour 2 Lay the copper shape on an enameling rack If the part that touches the rack is enameled place a stilt under the copper Some bowls or other shapes have enameled sides that might run during firing These should be fired with a stilt even if the piece has a plain bottom Use an enameling fork or if the rack is small a6 putty knife to place the rack into the kiln on top of 2 ceramic posts Note Firing the piece at enameling temperature should take a
5. Wear fir ing safety glasses whenever looking into the optional view port Maximum tempera ture for a kiln with view port is 1700 F 926 C Firing hotter will damage the glass See page 17 for glass port maintenance instructions Loading the Kiln Place Ware on a Protective Shelf Always protect the firing chamber by firing your pieces on a shelf or in a bowl Do not place the pieces directly on the bottom of the firing chamber Types of shelves and containers Fiber Shelf Place the standard fi n ber shelf directly onto the kiln bottom This shelf is used to support silver and gold clay Note Fire only silver or gold clay on the fi ber shelf never ce ramics enameling or glass Do not coat the fiber shelf with glass separator or kiln wash Fireclay Shelf Ceramic fireclay shelves available from Paragon protect the fir ing chamber bottom and provide a smooth surface Use a ceramic shelf in your jewelry kiln to fire ce ramics glass and enameling Insulating Firebrick Piece Insulating firebricks are porous light weight and can be shaped to sup port delicate silver clay designs Carve the fire brick with a knife or hack ake Saw Ceramic Bowl You can purchase an unglazed small ceramic bisque bowl from a ceramic supply store The bowl will last through many firings Use it to hold alumina hydrate You can also shape hot glass by slumping it into the bowl
6. just made 2 Hold the straight edge firmly and score the glass with the glass cutter Press just hard enough so that the scoring noise sounds steady and unbroken 3 Place the straight edge under the glass so that an edge is lined up with the score line you just made Press down on the glass It will break cleanly Fusing Compatibility of Glass When glass changes temperature it expands and con tracts The rate at which glass changes size is called the coef ficient of thermal expansion If you fuse two glass pieces to gether and one changes size faster or slower than the other the fused piece may crack even several months after fus ing When different glasses have a close enough coefficient of expansion to fuse successfully they re called fusing compati ble Buy glass labeled fusing compatible Or fuse glass that has been cut from the same sheet which guarantees com patibility Fusing Compatibility Test 1 To test glass for compatibility fuse small 1 2 square sample pieces of different glasses onto a larger base piece of clear transparent It should extend beyond the small sample pieces by half an inch on each side One of the sample pieces should be cut from the base piece 2 Heat the glass to a temperature that completely rounds the edges of the small sample pieces 3 After the glass cools place a polarizing filter under the glass and another filter over the glass Look at the glass with light shi
7. If glass separator or kiln wash contact a heating element that element will burn out in the next firing NEVER apply glass separator or kiln wash to the ceramic fiber firing chamber Haik Brush The haik brush is used to apply glass separator to the kiln shelf in a smooth thin layer The smoother the glass separator the smoother the underside of the glass Alumina Hydrate Delicate silver or gold clay shapes may need extra support during firing to prevent warping Place these shapes in a thin layer of alumina hydrate inside a small ceramic bisque bowl Do not breathe alumina hydrate Stilts Stilts are points embedded in a ceramic base The points separate enameling and glazed ceramics from the shelf The wire mesh above is referred to as an enameling rack An enameling fork lifts the rack out of the kiln A stilt separates the piece from the rack Enameling Racks Enameling is the art of firing glass onto metal The metal shapes are loaded onto a high temperature wire rack The enameled pieces and wire rack are loaded into a hot kiln fired for just a few minutes and removed red hot To load and unload the racks safely use an enameling fork The heating element under power is dangerous Do not touch the element with anything Turn the kiln switch off before inserting an enameling fork into the firing chamber Fiber Repair Filler This is a permanent high temperature refractory cement used to rep
8. ing chamber held in place by a metal band Remove the thermocouple from the kiln 6 Bend the new thermocouple between porcelain in sulators The thermocouple end should be two in sulators long after bending 7 Push the new ther mocouple into the hole in the firing chamber The ro twisted end must Pho i I extend into the fir a a ing chamber by 2 3 4 Make sure the band holds the thermocouple poa Otherwise the The band must secure the thermocou thermocouple can ple Otherwise the kiln could overfire be pushed out re sulting in an overfire 8 Thread the thermocouple wires down to the con troller opening at the front of the kiln Keep the thermocouple wires away from electrical compo nents and other wires 9 Strip 1 2 of insulation from the ends of the thermo couple wires 10 Attach the wires to the back of the controller One wire is yellow the other red Make sure the wires connect to the correct terminals which are color coded 11 Install the controller and back cover of the kiln Replacing a Relay or Transformer 1 Unplug the kiln 2 Place the kiln on its back 3 Remove the screws holding the sheet metal bottom to the kiln Tilt the bottom forward to gain access to the transformer and relay Leraar anna YVVTT ayy Place the new part next to the old one aligned in the same direction Re move and replace one wire at a time In th
9. people take their kilns to seminars or on vacation The easiest way to transport the kiln is to use the original packing materials If you no longer have the packing materials transport the kiln on its back with the door facing up Place a thin sheet of foam cushioning between the door and the firing chamber to prevent rubbing Avoid subjecting the kiln to excessive vi bration during travel Basic Operation Accessories Ceramic Fiber Shelves The soft ceramic fi ber shelf which comes standard with the kiln cradles gold and silver clay pieces These shelves are not suitable for firing glass or ce ramics Ceramic Fireclay Shelves amp Posts Ceramic fireclay shelves available from Paragon are hard ce ramic surfaces on which to fire ceramics and glass Firing glass enameling and ceramic glazes directly on the firing chamber bottom would ruin the bottom Shelves can be stacked using posts Glass Separator amp Kiln Wash Glass separator and kiln wash are mixtures of finely ground minerals that will not melt and fuse together at high temperatures They pre vent glass and ceramic glaze from sticking to fireclay shelves The main difference between glass separator and kiln wash is that the separator is ground more finely to leave a smooth back to glass pieces laid on the shelf As powders glass separator and kiln wash have an unlim ited shelf life Do not breathe the powder when mixing Caution
10. C F C Hold 1 500 277 300 148 01 00 2 500 277 1350 732 01 00 3 450 250 800 426 02 00 Segment 1 heats the wax to 300 F 148 C and holds it for one hour allowing it to drip from the mold Segment 2 hardens the mold Segment 3 lowers temperature to 800 F 426 C the typi cal casting temperature for silver Most types of gold cast at 900 F 482 C Note Casting temperature depends on the size of the mold The temperatures above are only a guide See your jewelry supply dealer for temperature recommendations Burnout Instructions 1 Place a metal tray inside the kiln on three 1 2 posts Place the mold on a wire mesh screen on top of the tray The mold s sprue hole should be down The tray will catch melting waxas it drips from the sprue hole 2 Keep the kiln s vent hole s if any open during wax elimination If the kiln has no vent hole leave the door open 2 This allows fumes to escape from the kiln Heat the kiln to 300 F 148 C and hold it at that temperature for at least one hour Note Do NOT heat the wax above 300 F 148 C Hold at 300 F 148 C for at least one hour During this hour the wax will melt from the mold and drip into the tray If the kiln gets hotter than 300 F 148 C the wax may smoke and deposit car bon inside your kiln causing expensive damage 3 After one hour at 300 F 148 C open the kiln Remove the mold and wax tray Pour the wax from the tray and leave the tray out of t
11. Loading the Kiln Venting the Kiln Rate Temperature and Hold Cooling Time ceiie indie abia Combining Silver Clay With Other Materials uaaa Glass Fusing amp Slumping How to Cut Glass Fusing Compatibility of Glass The Annealing Range Cleaning and Gluing the Glass Loading the Kiln Firing the Glass Enameling on Metal Preparing the Copper Decorating the Copper Firing Enamel rercitioesssens Ceramic Overglaze Pyrometric Cones Loading and Firing Overglaze Lost Wax Burnout Overview veen A Sample Program ssssusanrunaa Burnout Instructions Firing Mistakes Silver Clay 00 02 ee iss GLASS irr venae BE Aide mals Ceramic Overglaze Kiln Maintenance Trouble Shooter Door Latch Adjustment Ceramic Fiber Repair Cleaning or Replacing Glass View Port Replacing the Thermocouple Replacing a Relay or Transformer Replacing the Temperature Controller Replacing the Firing Chamber testing the element Paragon Kiln Limited Warranty Contents Safety Setting Up the Kiln Safety The warranty on your Paragon kiln does not cover damage from overfiring regardless of the circumstances It is the operato
12. Paragon Ceramic Fiber Jewelry Kiln Instruction amp Service Manual Ta e Introduction Thank you for choosing a Paragon kiln We have designed it to give you many years of reliable service Please read this manual It will help you gain the maximum enjoyment from your kiln It will show you how to avoid damag ing the kiln and will answer many questions Your instruction packet also includes a separate digital controller manual Please save both manuals Inspect the kiln When you receive your kiln check the carton for damage crushed holes etc Check the kiln for both inte rior and exterior damage If the kiln is damaged you can refuse the shipment and have it returned or accept the shipment after having the driver note the damage on the Bill of Lading Then call Paragon at 800 876 4328 or 972 288 7557 open Monday to Thursday 7 a m to 5 30 p m Central Check the Bill of Lading to insure that you received the correct number of packages Note any shortages on the Bill of Lading and have the driver sign the copy If there were no signs of visible kiln damage and you discover it after the driver has left notify the shipper immediately Save the shipping carton It was carefully designed to pro vide maximum protection during shipping Use the carton to take the kiln to seminars or on vacation or to return the kiln to the factory for repairs Needless worries Tremendous stresses are generated within the kil
13. Then they close the door again This speeds up cooling 4 The annealing range for most glasses is between 950 510 C and 700 F 371 C Cool slowly through this annealing range Leaving the door closed will slow the cooling enough for most projects If you need even slower cooling program a separate seg ment for cooling See the kiln s digital controller manual Note For safest cooling leave the ware inside the kiln until the kiln reaches room temperature If you remove the ware too soon the sudden temperature change can crack the piece To remove small pieces such as glass jewelry before they have cooled com pletely remove the shelf also Leave the pieces on the shelf 1 Vent kiln by opening the door and leaving the vent hole if your kiln has one open Venting allows the gases released to escape When the kiln reaches 500 800 F 260 426 C close the door 2 The first time you fire a particular brand or type of glass program the controller for a higher tempera until they reach room temperature The heat in the shelf will help prevent them from cooling too quickly Caution Before removing a shelf turn off power to the kiln 11 Enameling on Metal Preparing the Copper Enamels come in transparent or opaque They can be purchased directly from Thompson Enamel P O Box 310 Newport Kentucky 41072 Their Lead Free Enamels come ready to use No enamel washing is required for thes
14. Wear safety glasses when cutting glass Wear firing safety glasses when looking into a hot kiln Keep food away from your work area Never fire tempered glass inside a kiln It could explode Avoid firing toxic materials inside the kiln such as styrofoam used as a core for hollow beads Kilns with the glass view port do not fire the kiln hotter than 1700 F 926 C Firing hotter will damage the glass Setting Up the Kiln Electrical Installation if other appliances shut off too If that circuit powers appliances that must re main on while the kiln is firing plug your kiln into a different circuit You must plug your kiln into a circuit that no other appli ance uses while the kiln is firing Turn off the circuit breaker or unscrew the fuse for the circuit that your kiln will be plugged into Check to see Note 120 volt kilns avoid extension cords if possible If you must use one never use one smaller than 12 gauge and longer than 20 feet Never plug it into a ceiling outlet Voltage fluctuation can vary firing time from as little as half to more than twice the average time If the voltage is too low the kiln may never reach full temperature The receptacle must have a separate safety grounding wire This protects you from serious electrical shock Changing the cord plug will void your warranty Where to Locate the Kiln 1 Place your kiln in a well ventilated cov
15. air holes or cracks in the ceramic fiber firing chamber Safety Glasses Wear clear safety glasses when cutting or chipping glass Wear firing safety glasses when looking into a hot kiln such as when checking the progress of glass Caution Always wear fir ing glasses when viewing the interior through the optional glass view port Important Guidelines The Embedded Heating Element The heating elements of your kiln are embedded into the ceramic fiber firing chamber The firing chamber surface is hardened to a depth of 4 This makes the fiber more dura ble It is important that you do not touch the firing chamber with sharp objects These can penetrate the fiber surface and contact the heating element which is a shock hazard Note The heating element under power is danger ous Do not touch the element with anything Turn the kiln switch off before inserting an enameling fork into the firing chamber to remove a shelf The Clicking Noise Do not be concerned if your kiln makes a clicking sound during firing Your kiln contains a relay which sends power to the element The relay clicks as it cycles on and off to maintain the correct temperature Check Thermocouple You will find a small rod called the thermocouple ex tending into the firing chamber The digital controller senses temperature by reading a voltage from the thermo couple If this rod is pushed out of the firing chamber the kiln will assu
16. bout three minutes and requires undi vided attention 3 Look at your piece every 15 seconds by cracking open the door Remove the rack when the copper piece ap pears a rosy red and the enamel is smooth Place the rack on a steel pad or large ceramic kiln shelf and let it cool completely 4 After counter enameling you will need to clean the fire scale off the front of the piece A 3M Scotch Brite pad works well for this Then clean it with Thompson Sparex No 2 Ceramic Overglaze Pyrometric Cones Pyrometric cones are small pyramids of clay and mineral oxide that soften and bend when exposed to heat They indicate when ceramic ware has fired to maturity Pyrometric cones come in 1 1 8 and 2 1 2 lengths Use the 24 cones Cones mounted on the kiln shelf must be slanted 8 from ver tical They will not bend ac A self supporting cone fired to matu curately if they are slanted tity Do not be concerned if the tip is to the wrong angle slightly higher or lower than shown Self supporting large cones have the correct slant built into the base Stan dard cones must be mounted in a clay or wire plaque The chart on page 14 AR shows the temperatures of pyrometric cones Program your controller to the cone recommended for the ce A puddled over fired cone ramic ware that you are firing For small ceramic pieces such as figurines program a rate of 400 F 222 C Fire t
17. clay and glass combination eliminating the need to visually check the glass LEE NN NN Zn Cooling Time After the clay silver has fired to completion you can crack the door an inch to speed cooling If you are firing stones glass or other materials with the silver clay it is safer to allow the kiln to cool slowly with door closed Remove the piece when the kiln reaches room temperature Silver clay pieces that contain no other materials can be removed from the kiln at 1100 F 593 C You can remove them with tongs and drop them into water Caution Turn the kiln off before inserting tongs into the firing chamber Wear protective gloves Combining Silver Clay With Other Materials There are two ways to fire silver clay with other materials such as glass B Fire the silver clay first by itself After you have cleaned and polished the silver clay fire it a second time with the other material B Fire the silver clay and other materials such as a stone together in a single firing Enameling powder is easier to fire with the silver clay in a second firing See page 12 Glass is often fired with the silver clay in a single firing Many types of glass will melt to the point of overfire at silver clay temperatures So before combining glass and silver clay in a single firing test a small sample of the glass To do this fire the glass during a silver clay firing keeping the glass separate from the silver clay pi
18. d clay you do not need separator When firing silver clay with glass however fire the piece on a hard fireclay shelf coated with separator 1 Mix the separator with water following the directions on the bag Stir 2 Use a haik brush or a soft paint brush to apply the separator to the shelf The haik brush is easier to use because it lays down a more even coat ing Each time you dip your brush into the sepa rator mixture swirl the brush around the bottom of the container This is because the separator settles quickly Use two or three thin coats changing the direction of the brush stroke 90 with each coat 3 Dry the shelf before firing To speed drying place the shelf on three 1 2 posts inside the kiln Heat at full rate to 300 F 148 C and hold for five minutes Then turn off the kiln and leave the shelf inside 4 After the separator has dried and your shelf is cool you can smoothen the separator further by rubbing your hand lightly over the shelf The smoother the separator the smoother the back side of the glass A coat of glass separator will usually last several firings The lower the fusing temperature the more firings you can get from one application of separator Using Ceramic Fireclay Posts Ceramic posts support ceramic fireclay shelves inside a kiln B Do not use posts under the ceramic fiber soft shelf Place the fiber shelf directly onto the bottom of the firing chamber B Place
19. d contraction in copper and enamel after the enamel has been fired Counter or backing enamel a mixture that gives a mot tled effect can be used for counter enameling Or you can use regular enamel Counter enamel is applied by the sifting method described below 4 Se Lf oe Z D 4 AE Ws LL 7S Loe S lt os PL gt 4 YL ye SS LE SN PI Yo Pav ox eX ot LS SY oS 2 lt v N 4 When firing counter enamel underfire it so that the fire scale on the front of the piece isn t too difficult to remove You can purchase a masking preparation from your supplier to help prevent fire scale You must place the piece ona stilt when firing the other front side of the piece The stilt pre vents the back of the counter enameled piece from sticking to the enameling rack Applying Enamels Apply enamel over a clean sheet of paper so you can pour the excess back into the bottle for reuse Transparent enam els should be applied in several thin coats Transparent enamels can be mixed with fairly good results If opaque enamels are mixed however a grainy effect results The two basic methods of applying enamels are sifting and spatula Sifting Enamel Spray or brush Thompson holding agent onto the copper Then sift a 1 32 layer of enamel onto the copper Use a 60 mesh sifter If the coat is too thin you can easily add another coat after firing But a coat that is too thick will bubble and crack
20. d the glass pieces together after you place them on the kiln shelf Use the glue sparingly Glue is especially important when fusing wire into the glass The glue prevents the glass or wire from moving out of place before they fuse The glue disappears during firing Avoid using glue on the coated side of dichroic glass If you lay dichroic glass carefully onto the piece glue is unnec essary so avoid it altogether if you do not know which side of the dichroic is coated wr Loading the Kiln Air should circulate between the shelf and the bottom of the kiln so place three or four 1 2 posts in the kiln Lay the shelf over the posts Firing the Glass ZEN nnen Looking at the glass during firing Open the door about 1 2 Always wear firing safety glasses when looking at the hot glass ture than the estimated fusing temperature Watch the glass by opening the door 1 2 for several seconds at a time Shut the kiln off when the glass fuses the way you want Make a note of the shut off tempera ture For future firings program the kiln for that temperature and rate Note With every firing be sure you are near the kiln before the expected shut off time 3 After you shut the kiln off vent the kiln for five min utes by opening the door 1 Then close the door Note Some glass artists flash cool the glass after it fuses They vent the kiln until the temperature drops to 1000 F
21. e enam els Start with one of the many pre shaped copper forms avail able or shape and trim the copper to your own design 1 Heat the copper on an enameling rack to about 1400 F 760 C to burn off oil or grease Heat the copper to just until smoke from oil or grease stops coming off the metal and its color has changed to a purple red pale green iridescence that moves across the copper This indicates that the grease has vaporized Do not fire the copper any longer than this point Otherwise excess fire scale will form making the next cleaning step difficult 2 After the copper cools brush any loose scale from the copper Use a brush or paper towel being sure that you do not put any grease or oil onto the copper such as fingerprints Clean the copper with a 3M Scotch Brite pad This pad does such a good job that in most cases no further cleaning will be re quired Additional copper cleaning products are available in the Thompson Enamel Catalog includ ing Sparex No 2 It is best to clean the copper just before you decorate it If you wait too long to decorate after cleaning the copper could get dirty again 12 Decorating the Copper Counter Enameling Most enameled pieces should be counter enameled on the back side This gives the piece a much more finished look it eliminates a great deal of fire scale cleaning and it controls the chipping and cracking that can result from the different rates of expansion an
22. e of organic materials Paper mach and paper clay are good core materials Do not use wax or styrofoam as a core They emit harmful fumes Rate Temperature Hold Each brand of silver clay fires to a specific temperature and hold time This information is available from your silver clay supplier Note Hold time is the length of time that the rec ommended temperature is maintained in the kiln Do not fire longer than the recommended hold or the silver will begin to overfire Besides selecting a temperature and hold time on your kiln s digital controller you will also need a firing rate See the separate digital controller instruction booklet Select a Full Power rate if you are firing silver clay alone If you fire glass or ceramics with the silver clay select a rate best suited for the glass or ceramics Note Do not place silver clay into a kiln that is al ready hot unless the clay is completely dry The kiln should be no hotter than 500 F 260 C when insert ing the silver clay After the kiln begins firing leave the door closed Do not open the door until it is time to remove the clay Visual in spection of the clay is unnecessary If you are firing glass with the silver clay on the other hand you may need to check the fusing progress of the glass by opening the door and looking inside Look for just a second or two As you gain experience you will be able to program the correct temperature for the silver
23. e photo the relay is being re placed The transformer is the part in the foreground 4 Hold the new part next to the one you are replacing aligned in the same direction Remove and transfer one wire at a time from the old part to the new one Make sure each connection is tight 5 Replace push on connectors and wires damaged by heat from a burned terminal If wire connectors do not fit snugly on terminals gently squeeze the end of the terminal with pliers 6 As you move the sheet metal bottom back into place make sure the thermocouple wire attached to the back of the board is away from the other wires 7 Install the screws holding the bottom to the kiln Replacing the Temperature Controller 1 Unplug kiln 2 Remove the 4 corner screws holding the control ler faceplate to the switch box Carefully lift out face plate 3 Disconnect the wires from the back of the board You will find two plugs and two sin gle wires 4 Connect the wires to the new board Rein stall faceplate Replacing the Firing Chamber When the element burns out the ceramic fiber firing chamber must be replaced To test for a burned out element you will need an ohm meter 1 Unplug the kiln 2 Remove the back of the kiln page 18 left column 3 Place ohmmeter leads against the element connec tors A no needle movement reading on an analog meter or OPEN on a digital meter indicates a burned out element
24. ece This way you won t ruin the silver clay piece Place the glass pieces on a ceramic fireclay shelf You must coat the shelf with glass separator or otherwise the glass sample with embed into the shelf If the glass sample survives the firing you can fire that type of glass with silver clay in a single firing Note however that different types of glass fire to different temperatures Every time you fire a different type of glass be sure to test 9 Glass Fusing amp Slumping You will probably fire mostly stained glass but you can also fire standard float window glass Some types of float glass devitrify form a dull frosty surface when fired Caution Never fire tempered glass It could ex plode if heated inside a kiln Basic Glass Tools Reservoir Glass Cutter uses a reservoir of oil to lu bricate the cutter wheel Running Pliers are for cutting large pieces of glass Breaking Pliers are for cutting small strips Grozing Pliers shape the glass by chipping away the edges They are often used when the score line doesn t break cleanly Note that rough edges will become smooth when fired to fusing temperature How to Cut Glass Note IMPORTANT Wear safety glasses when cutting or chipping glass 1 Lay the glass on a clean surface Mark off the cut with a grease pencil or felt tip pen A small mark on each end of the glass will do Lay a wooden straight edge over the glass and line it up with the marks you
25. er Colors This can be caused by too heavy an application Kiln Maintenance Trouble Shooter Kiln Does Not Turn On Display is Blank B Make sure the circuit breaker is in the on po sition If the circuit breaker is on check the kiln s fuse Re move by pressing on the fuse holder and turning counter clockwise half a turn Check the fuse by placing the probes of an ohmmeter on the ends of the fuse If the ohmeter reads less than one ohm digital meter or reads 0 ohms analog meter the fuse is bad Replacement fuse AGC Y A 250V AC Kiln Repairs Door Latch Adjustment Adjust the two screws on the door latch to change the spring ten sion Note Do not loosen the screws too far or they could fall out Ceramic Fiber Repair If glass ceramic glaze or other materials drip onto the firing chamber repair before the next firing Otherwise the glaze will remelt and embed deeper into the fiber 1 Unplug the kiln 2 Cut or scrape the ceramic fiber to remove the con taminant Remove as little fiber as possible If a heat Note If you do not have an ohmmeter visually in spect the fuse You will see a thin strand of unbro ken wire in a good fuse The wire usually appears broken in a burned fuse Circuit Breaker Trips B If the circuit breaker trips after the kiln has fired for awhile make sure no other appliances are operating on the same circuit as the kiln B If t
26. ered and pro tected area such as the garage basement utility or hobby room Note Some people keep their kiln outside on a cov ered patio This is okay so long as the kiln is not sub jected to excessive humidity We recommend good ventilation However some materials such as silver clay may not need special ventilation 2 Remove gasoline paint and other flammable materials from the kiln room 3 Provide a minimum of 12 inches clearance between kiln and the closest wall 4 Never allow the room temperature of your firing room to exceed 100 110 F Measure the tempera ture about 3 feet from the kiln If necessary use fans to lower room temperature Place the kiln on a fire proof surface such as a large ceramic kiln shelf 5 Keep the kiln away from curtains or other combusti ble materials 6 Position kiln on a level fire proof surface We rec ommend an 18 x 18 piece of sheet metal or a large ceramic kiln shelf Note If you are with the kiln at all times during fir ing you can place it directly onto a workbench or kitchen table A fire proof surface is ideal though because it provides a safe place to lay hot shelves re moved from the kiln 7 Keep unsupervised children away 8 Keep the power supply cord away from the kiln case There is little danger of serious burn from accidental contact if you exercise the same caution you would use with an electric iron Transporting the Kiln Some
27. firing chamber bottom It is not necessary to support the fiber shelf with posts since the heat transfers easily through the fiber shelf B Do not coat the ceramic fiber shelf with kiln wash or glass separator B You can also place the silver clay on a piece of ceramic fiber batting Alumina Hydrate Rounded hollow or other delicate shapes may need support to prevent collapsing You can lay these pieces onto a mound of alumina hydrate If the piece needs only shallow support of 1 4 depth or less pour the alumina hydrate onto a ceramic fireclay shelf Support the fireclay shelf on three 1 2 posts to aid heat flow under the shelf If the silver clay shape needs deeper support pour the alumina hydrate into an unglazed ceramic bisque bowl These are available at ceramic supply stores B Place the ceramic bowl directly onto the kiln bottom B NEVER use a glazed bow to hold the alumina hydrate If the glaze runs it can embed into the firing chamber Caution Avoid breathing alumina hydrate dust Caution Alumina hydrate can destroy the heating element on contact If it spills onto the firing cham ber remove with a vacuum cleaner Venting the Kiln Silver clay by itself needs no venting Load the kiln close the door and leave it closed until the clay silver is ready to re move The kiln needs venting if you fire ceramics or glass with the clay silver or if you make hollow objects that contain a cor
28. he circuit breaker trips im mediately after the kiln is turned on the kiln may have a short circuit Un plug the kiln Re move the bottom cover and look for a loose wire touching the case BOERE END Temperature is 1 Remove the four 2 Remove the glass Inaccurate B Make sure the ther mocouple is pushed Vo 34 into the firing chamber B Ifthe thermocouple is pushed into the firing chamber and the temperature is inac curate replace the thermocouple Thermocouple ing element is located where you are scraping avoid touching the ele ment Cleaning or Replacing the Glass Viewing Port Never fire a kiln equipped with the glass view port hotter than 1700 F 926 C Firing hotter will damage the glass To remove the window screws holding the glass cover Clean with glass cleaner To remove scratches take the glass to an eye glass polisher Replacing the Thermocouple 1 Unplug the kiln 2 Remove the four screws holding the controller to the front of the kiln Carefully remove the control ler 3 Remove the two thermocouple wires from the back of the controller They are held in place by button or lever type connectors To remove the wires lift the levers or press down on the connector buttons and pull the wires out Removing the thermocouple 18 5 The thermocouple is located in the back of the fir
29. he kiln until your next wax elimi nation Do not leave the tray in the kiln 4 Heat the mold to the temperature recommended by your jewelers supply house where you purchased the mold material This is usually around 1350 F 732 C 5 Lower the temperature to the casting temperature of the metal Hold at that temperature until you are ready to begin casting Remove the mold with tongs Wear protective gloves and safety glasses Saving a Carbon Damaged Kiln If you follow the above directions your kiln should be safe from wax damage In some cases a small amount of carbon may form on the walls over a period of time This is due to the burning of wax residue that was left in the mold For this rea son we recommend that you periodically fire the kiln to 1500 F 815 C as follows 1 Open the vent cover s or leave the door ajar 2 2 Fire the kiln empty to 1500 F 815 C at a rate of 300 F 166 C with a one hour hold 01 00 Firing Mistakes Silver Clay Cracks Cracks that appear in fired silver clay may be due to too much water in the silver clay before it was fired Another cause is careless handling of a dried unfired piece To re pair fill the crack with silver clay and fire again Brittle Silver clay will not reach full strength if underfired You may be able to save the piece by firing again to the correct temperature and hold Too Much Shrinkage When silver clay is overfired it shrinks too much and lose
30. imit Timer manufactured by W P Dawson Inc 399 Thor Place Brea California 92621 WARRANTY COVERAGE EXTENDS ONLY TO THE ORIGINAL PURCHASER AND DOES NOT COVER REPLACEMENT OF PARTS THAT ARE BY THEIR NATURE EXPENDABLE THIS WAR RANTY IS VOIDED IF THE PRODUCT IS AD VERSELY AFFECTED BY ATTACHING ANY FEA TURE OR DEVICE TO IT OR IS IN ANY WAY TAMPERED WITH OR MODIFIED WITHOUT EX PRESS WRITTEN PERMISSION FROM PARAGON INDUSTRIES INC Paragon Industries Inc will repair or replace any parts that become defective under normal and proper use during the specified period for the kiln purchased providing the kiln has not been subjected to misuse or the listed exclusions Paragon will furnish and install replacement parts at the factory with transportation costs to and from the factory paid by the owner or upon receipt of defective parts at the factory and after factory examination of the defect Paragon will furnish re placement parts complete with installation instruc tions shipped postpaid to owner The warranty on the 20 repaired and or replaced parts will be limited to the un expired term of the original warranty Any claim for adjustment under this warranty must include name and address of dealer from whom kiln was originally purchased Repair or replacement of any defective parts shall fulfill all obligations of Paragon No other obligations or liabilities are assumed in con nection with Paragon kilns nor does Parago
31. ing clay It is formed with simple tools such as a tooth pick small knife and razor blade Its surface is pliable and accepts impressions from objects suchas leaves coins and coarse fabrics After the sil ver clay is formed it is fired in a kiln The recommended temperature and hold time is included with the silver clay Forming and firing silver clay is simple There is nothing mysterious about making silver clay jewelry The silver clay is made of micron size silver or gold particles held in an organic binder During firing the binder burns away The silver particles then fuse together forming real silver Since the binder disappears there is a certain amount of shrinkage during firing Shrinkage varies depending on the type of sil ver clay you use Drying Time Small thin silver clay pieces can be placed into the kiln while still moist and fired Thicker pieces need time to dry Otherwise they may warp during firing To be on the safe side give the silver clay plenty of time to dry As you gain experience you will know just how much drying time each type of piece needs You can speed drying with a hair dryer Loading the Kiln Silver clay pieces that have a flat side can be placed inside the kiln directly onto a shelf Use the soft ceramic fiber type shelf It cushions the clay silver B Silver clay pieces can be close together but they must not touch B The soft ceramic fiber shelf can be placed directly onto the
32. iring examine the shelf Recoat if the kiln wash is chipped When glass sticks to a bare section of shelf the glass cracks Glass Bubbles Probable Causes B Heating the Kiln Too Fast B Air Trapped Between Layers of Glass B Grease or Dirt Between Layers of Glass B Uneven Glass Volume B Moisture or trapped Air Between the Glass and Shelf Make sure the shelf is completely dry before firing If you have applied fresh glass separator leave the shelf in the kiln at 300 F 148 C for 20 minutes before placing glass on it One way to eliminate bubbles is to hold the temperature at 100 F 55 C below fusing temperature for 15 minutes This gives the shelf time to heat up to match the tempera ture of the glass Glass Devitrification Frosty Surface Probable Causes B Impurities in Glass B Kiln Not Vented Long Enough During Initial Heating Devitrification is a frosty surface on the glass caused by impurities With some glasses it is unavoidable To lessen devitrification some artists vent the door of the kiln slightly after fusing is completed They close the door when the glass reaches 1000 F 537 C Glass Separator Sticks To Glass Probable Causes B Firing Too Hot B Overglaze On the Back of the Piece Instead of firing to a full fuse temperature try firing 50 F 28 C cooler and holding at that temperature for several minutes 16 Ceramic Overglaze Breaking in Overglaze Firing Can be caused by poorly fired bisque
33. lass separator alumina hydrate glass enameling powder and ceramic glaze will ruin the heating element Never fire glazed ceramic ware glass or enameling directly on the firing chamber bottom Use a ceramic shelf on short posts to protect the bottom from glaze drips glass and enameling powder Caution Some kilns contain a heating element embedded in the bottom of the firing chamber Ma terials such as glass and glaze if absorbed into the fiber firing chamber can ruin the element This type of damage is not covered by warranty Prevent glass separator kiln wash and alumina hydrate from falling from a shelf onto the firing chamber These materials can destroy the element Note If a contami nant such as dripping glass or glaze embeds into the firing cham g ber unplug the kiln Gently scrape off the contaminant with a knife being careful not to damage the heating element Vac uum the kiln The Effect of Silver Residue on Glass Firing silver clay leaves traces of silver in the pores of the firing chamber Sometimes there is enough silver residue in the kiln to affect colors of glass For instance green might turn yellow Note Before firing an important glass piece in a kiln used for silver clay perform color tests Fire small samples of each glass color on a base sheet of clear glass Place the glass on a fireclay shelf not the soft fiber shelf The Optional Glass View Port Caution
34. ln This prevents the element from possibly shorting out against the tray Note These instructions apply to injection wax that melts at 200 F not pattern waxes and plastics that melt at higher temperatures If smoke appears dur ing wax elimination turn off the kiln Smoking wax means the kiln fired hotter than 300 148 C Overview Lost wax casting is the process of carving a shape in wax and then casting that shape in metal After the wax has been carved a mold is made of the wax shape The mold is a nega tive image of the wax The wax is later melted out of the mold through hollow channels called sprues Lost wax burnout is the process of preparing a casting mold for the melted metal that will be poured into it The steps in lost wax burnout 1 Melt the wax from the mold 2 Remove wax from the kiln before raising the tem perature higher than 300 F 148 C 3 Harden the mold at high temperature 4 Maintain the mold at the casting temperature rec ommended for the type of metal that will be poured into the mold Caution Prevent wax or carbon from contacting the kiln s walls and elements Carbon build up in side a kiln ruins the interior Carbon conducts elec tricity and causes elements to short circuit Damage to elements from contact with foreign materials is not covered by warranty A Sample Program See your digital controller instruction manual to enter this program Rate Temp Segment F
35. me that the firing chamber is cold This will re sult in an over fire Be sure the rod extends into the firing chamber by 2 4 before firing the kiln Vacuum the Kiln Clean the kiln before firing glass enameling or ceramic glaze Cleaning is not necessary when firing silver or gold clay Use a soft brush nozzle on a vacuum cleaner to remove dust from inside the kiln Removing Hot Ware To remove hot ware from the kiln turn off the kiln Carefully slide an enameling fork un der the shelf Place the hot shelf on a large ce ramic kiln shelf in front of the kiln Wear thick work gloves Firing Log Book Record the following information in a firing log book Date Firing temperature speed and hold or Ramp Hold pro gram Starting time Total firing time Type of pieces Firing results As you gain experience you will find a wealth of informa tion in your firing logs Low Temperature Holds A low temperature hold i e 200 300 F is more diffi cult to maintain than higher temperature holds 1400 1700 F At low temperatures turning on the heating ele ment affects firing temperature to a larger degree than at high temperatures When holding at a low temperature heat the kiln slowly Otherwise the temperature may overshoot the hold temper ature before the element turns off Avoid Contaminating the Heating Element Contact with silica or silica bearing com pounds such as kiln wash g
36. n The ceramic fiber firing chamber actually ex pands and contracts with each firing Do not be concerned if small cracks appear in the fiber This is normal These are sur face cracks that close tightly when the heated fiber expands You may find a small pin hole in the center of the firing chamber It is from the manufacturing process and will not affect the kiln s performance The paint around the door will eventually discolor from heat This again will not affect the kiln s performance During firing you will hear an intermittent distinct clicking This is the sound of the relay s sending power to the heating elements Do not be concerned with this sound P N TNF663 SN 305806 MODEL TNF663 VOLTS 240 PH 1 HZ 60 The Electrical data plate Im portant information about your kiln is recorded on its electrical data plate Please include this in formation when ordering parts or calling your dealer or the factory about your kiln AMPS 15 WATTS 3600 40423 MADE IN USA 2001 by Paragon Industries Inc IM 164 1 02 QD GD LISTED 2 MAX TEMP 2350 F ELECTRIC kfin Electrical Installation Where to Locate the Kiln Transporting the Kiln uasna Basic Operation Accessories 0200 eee Important Guidelines Loading the Kiln Venting the Kiln uaaanuananana Silver amp Gold Clay Drying Time 0
37. n Indus tries Inc authorize its distributors or dealers to as sume any other obligations or liabilities on its behalf THERE ARE NO OTHER WARRANTIES EX PRESSED OR IMPLIED INCLUDING BUT NOT LIMITED TO ANY IMPLIED WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PAR TICULAR PURPOSE IN NO EVENT SHALL PAR AGON INDUSTRIES INC BE LIABLE FOR ANY LOSS OF PROFITS OR ANY INDIRECT OR CON SEQUENTIAL DAMAGES ARISING OUT OF ANY SUCH DEFECT IN MATERIAL OR WORKMAN SHIP NOTE SOME STATES DO NOT ALLOW THE EXCLUSION OR LIMITATION OF INCI DENTAL OR CONSEQUENTIAL DAMAGES SO THE ABOVE LIMITATION OR EXCLUSION MAY NOT APPLY TO YOU This agreement is made in the State of Texas and its validity construction and all rights under it will be governed by the laws of the State of Texas This war ranty gives you specific legal rights and you may also have other rights which vary from state to state Paragon Industries Inc Paragon Industries Inc 2011 South Town East Blvd Mesquite Texas 75149 1122 Toll Free 800 876 4328 972 288 7557 Toll Free Fax 888 222 6450 Fax 972 222 0646 paragonind worldnet att net www paragonweb com
38. ning through it hold it over a lamp Turn one of the filters until the filters are at their darkest Results of the Test If you see a halo around the edges of the small glass sam ples this usually means the glass is not compatible Ifyou see no halo the glass is fusing compatible Why did we include a sample square cut from the base transparent glass It tests for annealing A halo around that piece means the glass was not annealed properly Perform the test again this time cooling more slowly through the an nealing range The Annealing Range Each type of glass has a temperature range that it must pass through slowly when it cools This is called the anneal ing range This slow cooling gives hot glass time to release the stress of cooling If you cool the glass too fast through the annealing range it will break The larger and thicker the glass the slower it must pass through its annealing range You cannot over anneal so err on the side of caution if you aren t sure how long to anneal Small projects suchas earrings rarely need annealing time as EN RNN NN NN they cool Cleaning and Gluing the Glas Grease dirt and fingerprints etch per manently into the glass during firing Clean the glass with glass cleaner the type without silicones rubbing alcohol or even plain water just before assembling the pieces on the kiln shelf Use white glue such as Elmer s diluted 1 1 with water to hol
39. o the temperature shown in the 108 F column of the Tem perature Equivalents chart for the cone number you are firing Under fired cone Before deciding on the firing speed of important pieces test fire sample clay pieces Note Do not fire beyond your kiln s maximum temperature Firing hotter will void your warranty Kilns with glass view port do not fire hotter than 1700 F 926 C Loading and Firing Overglaze Overglaze is decoration applied over fired glaze or pol ished porcelain bisque Overglazes include china paints gold and luster which fire from cone 022 to 014 Load overglazed ware the same way you would load ce ramic glaze Use stilts and make sure ware is not touching other ware Ware must be completely dry before firing 13 China paints will crack or peel if ap plied heavily Apply several light coats in stead firing between each until you get the shade you want Not all china paint colors reach maximum color saturation at the same temperature even when fired on the same ware So you must know which col ors you should fire first at higher tem peratures to prevent burning out the original colors in later firings For example reds mature at a lower temperature than other colors and are fired after the other colors have been fired Reds and yellows should not be fired side by side Colors also mature at a lower temperature on ceramic pieces than on porcelain or hard china Check the o
40. r s responsibility to make sure the kiln turns off at the proper time The Ceramic Fiber Avoid touching the firing chamber surface with sharp or pointed objects They can damage the fiber surface Touching the embedded heating element with sharp or pointed objects is a shock hazard Read the Manual Read each page of this manual in detail before operating your kiln Warranty does not cover damage caused by failure to follow instructions Food or Drink Surfaces Some decorative materials may be unsafe and toxic when used for surfaces that will be in contact with food or drink When you make food or drink containers select a glaze or glass that has been formulated tested and labeled as approved for surfaces that will be in contact with food or drink Follow the glaze or glass manufacturer s instructions exactly without any variations Important Safety Rules An electric kiln is extremely safe to operate provided you follow these basic safety rules Unplug kiln when not in use Do not touch hot sides Keep unsupervised children away Place kiln on a non combustible surface Do not install closer than 12 from any wall or combustible surface Fire only in a well ventilated covered and protected area Keep cordset away from hot sides of kiln DANGEROUS VOLTAGE Do not touch heating elements with anything Disconnect kiln before servicing Do not leave kiln unattended while firing
41. s detail If the kiln is firing hotter than the temperature programmed check the position of the thermocouple see page 17 bottom left column Replace the thermocouple if it is old Glass Glass Cracking Probable Causes B Heating the Kiln Too Fast B Cooling the Kiln Too Fast B Fusing Incompatible Glass B Not Enough Glass Separator on Shelf Most problems in fusing are caused by rushing the firing The glass must change temperature slowly during the criti cal temperature range of 100 500 F 37 260 C This critical range applies to both heating and cooling The second critical temperature range is annealing which is the cooling range of 950 700 F 510 371 C aver age Cool the glass slowly during this range so the stress in the glass will have time to dissipate If you become im patient after the glass has fused and you crack open the door of gt am the kiln for a few sec st j onds to peek inside 7 you may hear a ping which is the sound of glass cracking Avoid Z the temptation to open ere the door Wait until the GEE kiln has cooled to room SS Kg temperature Some ve at lt ESES schedule their Flaking glass separator can cause the fusing so that itiscom glass to crack This is because the glass pleted before they goto sticks to the shelf bed That way they will 15 be asleep while the glass cools and they won t be tempted to open the door After each f
42. three posts under the ceramic hard fireclay shelf This aids air circulation preventing heat built up under the shelf B You can fire two or more ceramic fireclay shelves in a Par agon jewelry kiln Support the bottom shelf on three 1 2 posts Separate the shelves with taller posts The length of the posts and the number of shelves you can fire de pends on the size of the kiln When you load multiple shelves fire at a slower rate This aids heat distribution Pe Venting the Kiln Some types of ware such as glass and ceramics contain impurities that burn off during firing These impurities must be released from the kiln Otherwise they can affect the quality of the ware Silver and gold clay need no venting unless you are firing them with a material that burns out for a hollow shape or you are combining them with another material such as glass If the kiln has avent hole open the vent If it does not have a vent hole open the door about 1 2 Venting will be ex plained in greater detail in sections on glass and ceramics Silver amp Gold Clay With silver clay it is possible to shape intricate free form silver jewelry in minutes even as a beginner The clay is also available in gold for simplicity we will refer to both met als as silver clay At the time of printing the silver clay brands available were Art Clay Silver and Precious Metals Clay Silver clay looks and feels like model
43. verglaze manu facturer s literature for information on which cone to use with each color and type of ware WITT LT e ITIITI OAN NN Open the door 1 2 to vent the kiln if your kiln does not have vent holes Vent the door during the first hour of firing If your kiln has a vent hole leave it open during the entire firing Allow kiln to cool to room temperature before opening the door Temperature Equivalents For Orton Self Supporting Pyrometric Cones Cone Pre Fire Color Cone Number Heated at 27 F 108 F 270 F Per Hour Per Hour Per Hour 022 1087 1094 Green 021 1112 1143 Fuschia 020 1159 1180 Orange 019 1213 1252 1283 Yellow 018 1267 1319 1353 White 017 1301 1360 1405 Pink 016 1368 1422 1465 Light Blue 015 1382 1456 1504 Violet 014 1395 1485 1540 Gray 013 1485 1539 1582 Green 012 1549 1582 1620 Fuschia Self Supporting Cones Rate of temperature increase during last 90 120 minutes of firing Tables by courtesy of the Edward Orton Jr Ceramic Foundation 14 Lost Wax Burnout Caution Only kilns with vent holes are designed for lost wax burnout However you can use a kiln without the vent hole provided that you open the door 1 2 during venting Caution Always use a wax tray Caution If your kiln s heating element is embed ded in the floor of the firing chamber place the metal wax tray on 3 or 4 2 posts inside the ki
Download Pdf Manuals
Related Search