Kiln Firing Services

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 Working with kilns is an essential and unpredictable part of ceramics and glass art. While we take great care in firing all work, kiln firing always involves variables beyond anyone’s control. By submitting work for firing, artists acknowledge and accept the following expectations. 

Kiln Results Are Not Guaranteed - Kiln firing is a transformative process influenced by:

• Material composition 
• Moisture levels
• Thickness and construction
• Placement in the kiln
• Heat, atmosphere, and cooling cycles
   

Cracking, warping, pinholing, glaze variation, colour shifts, and breakage are all normal risks of kiln firing and are considered part of the learning and making process.

The studio does not guarantee outcomes.

• All work is fired at the artist’s risk 
• The studio is not responsible for:
  • Cracks, breakage, or warping
  • Glaze defects or colour variation
  • Thermal shock or incompatibility issues
  • Work fusing to shelves or molds
     

No refunds or credits are issued for fired work that does not meet personal expectations.

Artists are responsible for ensuring their work is:

• Structurally sound
• Properly dried (for pottery)
• Appropriately glazed or prepared
• Free of trapped moisture, air pockets, or unsupported elements
   

The studio reserves the right to refuse work that appears unsafe for firing.

Kiln Scheduling

• Firing schedules are determined by kiln availability and load efficiency
• Turnaround times are estimates, not guaranteed 
• Rush firing is not available unless explicitly agreed upon in advance
   

• Only approved clay bodies may be fired 
• Glazes must be compatible with the clay body and firing cone
   

Incompatible materials may result in cracking, melting, bloating, or kiln damage.

Pottery naturally shrinks during drying and firing. Variations in wall thickness, base compression, and form design may result in:

• Warping
• S-cracks
• Slight shape distortion
   

These outcomes are normal and not considered firing errors.

Glaze results vary depending on:

• Application thickness
• Layering
• Kiln placement
• Firing conditions
   

Colour variation, surface texture changes, and unexpected effects are common and part of ceramic exploration.

Glass colour and opacity may change during firing due to:

• Heatwork
• Layering
• Thickness
• Shelf position
   

Final results may differ from unfired appearance or sample images.

Glass softens and moves when fired. During fusing or slumping:

• Edges may round or spread
• Shapes may shift
• Pieces may slump unevenly
   

These effects are inherent to the process and not considered defects.

The studio uses kiln wash and fiber materials; however:

• Glass may stick to shelves or molds
• Texture transfer may occur
• Surface imperfections are possible
   

Artists accept responsibility for these risks.

To protect our equipment and community:

• The studio reserves the right to refuse any work that poses a risk to kilns
• The studio is not liable for damage caused by outside materials
   

Submitting work for firing indicates acceptance of all kiln firing policies and expectations listed above.

Kiln firing is both a technical and creative process. 

Unexpected outcomes are not failures — they are part of working with molten materials and heat.