Made-From-Scrap Outdoor Kilns

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Now, place some of the flat scrap metal over the flames . . . completely cover that with shards . . . arrange the heated pottery (again, no two pieces should be allowed to come in contact with each other) on top of the pile . . . gently cover it with a second layer of ceramic shards . . . and top the heap off with overlapping sheets of metal scrap. This, then, is your kiln. Just be sure that your ceramics are entirely encased by the salvaged materials, which serve to protect them from both direct flame that could break them and smoke that would smudge them.

At this point, stack a thick layer of dry manure (which will burn quite rapidly and evenly, hold its shape right down to the embers, and prevent the wares from cooling too quickly) on top and around the kiln, and cover it with the remaining twigs. Then use straw or scrap paper to light the fuel in several places, so that the heat is distributed evenly.

Regular tending of the kiln is important ... both because an unwatched fire can easily spread and because an untended blaze won't produce the best results possible. You should, for example, add more dry twigs and manure when necessary to maintain an even heat. Once again, patience is required. Don't rush the process: Beyond adding fuel to prevent premature burnout in a particular area, simply allow the flames to die down and the ashes to cool on their own. The pots will probably stay hot for a long while, though, so remove them with great care. As soon as you can handle your pottery, however, wipe the fired pieces with an oily rag and then allow them to cool completely. They should be, generally speaking, the color of the clay you used . . . unless the wind has forced smoke down inside the kiln and darkened them.

DIFFERENT EFFECTS

If, however, you want to produce black pottery, you can simply place the scrap metal and the shards loosely around your creations. Then, after the fire has almost burned down, dump another layer of crumbled manure on top of the coals, to shut out the air and produce a lot of smoke. The fumes will enter the kiln through the cracks you've left and stain the pottery's surface.

Other variations in appearance are possible, as well. For example, when the still-unfired clay pots are at the leather-hard (not thoroughly dry) stage, you can rub them vigorously with a polished stone or the back of a spoon. This produces a lustrous finish that is enhanced by the heating process.

Designs can be carved into the leathery pots, too. Such surface sculpting requires few modeling tools: Common household implements are ideal for etching.

By coupling one or both of these techniques with either "open" or "shut" kiln construction, the backyard potter can achieve a wide variety of satisfying results. All in all, I think you'll agree that outdoor firing is an excellent method of expanding a ceramist's repertoire!

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