Although Paragon makes kilns to order, Kitiki has the popular SC-2 and their shelves and posts, in stock. Other kilns, such as the Caldera and Fusion, generally have to be ordered.

When your piece is dry, it needs to be fired to become solid metal. If you don't dry it completely, the water will turn to steam during firing and the pressure increase may crack the clay, or shatter it: it's unlikely, but it could explode as you remove it from the kiln, so wear safety glasses.

As it's fired, the organic binder vapourises and the metal powder sinters, leaving solid 999 silver or 22 carat gold. During firing, small amounts of non-toxic carbon dioxide and water vapour are released: so it's safe to use at home.
There's an important difference between sintering and fusing. During sintering, metal powders bond to produce solid metal, but don't melt. During fusing, metals melt and lose their shape.

The most reliable way to fire Art Clay is in a kiln programmed from cool 650°C then held for 30 minutes. Rest your piece on a kiln shelf or a ceramic fibre block: never on the floor of the firing chamber. Complex or fragile shapes can be supported on vermiculite chips.

If your piece doesn't include anything that will crack or melt at a higher temperature, it can be fired from cool to 780°C then held for 5 minutes.

Before using your kiln, a basic awareness of electrical safety is important to avoid popping the fuse repeatedly, burning out the mains cables, or getting a shock. The following comments are generalisations, so make sure you learn about your own work environment.

In case you missed out on a technical education, there are three commonly-used electrical measurements: Volts, for example 230V, is the pushing power. Amps, for example 13A, is the amount being pushed. Watts, for example 750W, is the energy you get. They're related by a simple formula: Volts x Amps = Watts.

On the side of the QuickFire 6 kiln box, it says 240V 7A. If this is correct, it has a 1680W element, usually written as 1.68kW where a kilowatt is a thousand watts.

It's interesting that a 10W radio will fill the room, a 100W light bulb will light the room, and a 1000W heater will warm the room. So, as we pay for electricity by the kilowatt, it's heating devices that cost the most to run. Sadly, riding an excercise bike can only generate about 60W of light so, although you keep warm, it's hard to be energy-independent.

Most domestic and small-business buildings have a main fusebox. The different fuses restrict the amount of current that can be drawn by function groups, such as the lights on one floor, the power sockets on one floor, the kitchen sockets, ovens and grills, a shower and pump, or a garage and outside lights. If you exceed a fuse's rating, it pops.

To supply lights, the fusebox uses several ring mains, each ring separately fused and rated at 5A or about 1200W. Typically, a ring main starts at the fusebox, visits several wall switches and lights in different rooms on the same floor, and returns to the fusebox. The whole circuit is earthed at the fusebox. A lighting circuit is not designed to power heating devices.

To supply power sockets, the fusebox uses several ring mains, each ring separately fused and rated at 30A or about 7000W. Typically, a ring main starts at the fusebox, visits several double sockets in different rooms on the same floor, and returns to the fusebox. The whole circuit is earthed at the fusebox.

To generalise, you can't plug a range of heating devices into all the sockets: neither the fuse nor the cable will survive, although the fuse should pop before the cable burns out.

Also, in older properties, several owners with varying levels of skill, may have changed the circuit or extended it. So, take care.

If you're using your kiln in a kitchen, remember that devices with heaters such as kettles, toasters, washing machines, and dishwashers, if used at the same time, may overload the circuit. If you're not sure, ask an electrician.

The UK SC-2 and SC-3 come with a 1.8 metre cable ending in a regular UK 230V plug. They're 1745W kilns, so you can use any mains socket. The plug needs a 13A fuse. If your kiln is more than 3000W, it may need a special fused circuit.

If you use an extension lead, it should be heavy duty and not more than 5.0 metres long. Extension leads should never be used coiled or whilst on a drum as heat will build up.

As with all electrical equipment, don't get the kiln wet and don't touch it with wet hands. Although some kilns have a built-in safety cut-out, all equipment in a work environment should plug into an electronic safety trip adapter. Always unplug the kiln when it's not in use, you're cleaning it, or it's being serviced.

Kilns, such as the SC-2 and SC-3 have an outer steel case slotted for air circulation, and the layer of air between the outer and inner steel cases keeps the outside cool. The electrical components and the safety cut-out, located in the base, stay cool, even at extended hold times. So it can stand on a table or kitchen top. However, things you take out will be very hot and you need somewhere to rest them while they cool.

The ceramic fibre liner is heat resistant. However, it's not hard so take care using tools to place or remove pieces.

Although the door catch can be adjusted, be careful your pieces don't fall over inside as you pull against the catch.

It's a good idea to have a small fire extinguisher nearby. And remember that fired pieces will be hot for some time.

Position the kiln at least 300mm from any vertical surface, particularly curtains. Kilns, such as the SC-2 and SC-3, keep cool enough to stand on a normal table. Kilns such as the QF-6 need to be on a heat-resistant surface.

Make sure that no one can touch the kiln who doesn't understand what a kiln is and the sort of temperatures used during firing.

Most heating devices smell when used for the first few times, so use the kiln in a well-ventilated room. The paint may discolour.

As the ceramic chamber expands and contracts in use, small cracks may appear. These are normal and harmless.

Programmers often click as the heating element is turned on and off to keep a steady temperature. But, just because it's on automatic, don't walk off and leave it.

High temperature elements can be destroyed by contact with silica and silica compounds, and by reduction firing. Read the notes that come with your kiln.

DRESS UP YOUR KILN

Kilns don't come with furniture kits. A kit usually consists of the appropriate shelf and a set of shelf posts. The shelf is made of cordierite, a magnesium aluminium silicate that resists thermal distortion and fracture.

Cordierite is brittle so, if you drop the shelf, it will usually break. Although shelves can be repaired, it's not worth the risk as, if they break again, it will be just as you put your delicate unfired pieces in the kiln.

Depending on the sizes of your pieces, the number of pieces you want to fire, and the size of the kiln, shelves can be stacked to make better use of your time: so you may want more than one furniture kit.

If you've just dried or fired Art Clay or PMC, you need to take out the shelf and put it somewhere safe: on a tray of vermiculite or some other heat-resistant surface.

Some glazes may release toxic chemicals into food or drink. Make sure that you use an approved and tested product, applied and fired as recommended.

Art Clay has recommended firing programmes. Kilns with electronic programmers, such as the Paragon SC-2, are ideal, as you can set the rate, temperature, and hold time. And you can leave them on whilst you do something else.

With kilns without programmers, such as the Paragon QuickFire, the temperature guage is a continual reminder. If you leave it on too long, or go off for a snack, it will overheat and probably ruin your work or the kiln.

Although kilns are very robust, owners sometimes had to return them to the US for service or repair. The shipping costs and down-time would be a setback for a small business.

Now, within the UK, Kitiki will accept your kiln by post, courier, or personal delivery, and usually begin work on it the same day. So, keep the original packing box.

Kitiki can't keep every part for every kiln in stock all the time. Although we always order parts promptly, there's often a manufacturer's delay, a public holiday, an import document discrepancy, a trainee delivery driver, traffic chaos, or some other complication. I know waiting is distressing but, unless you're really competent and have tools and test equipment, don't try to repair kilns at home.

COOKING ART CLAY

Ideally, Art Clay needs firing for a set time at a set temperature. However, with practice, you can fire small pieces on a kitchen gas hob. Unfortunately, a gas oven doesn't reach a high enough temperature.

Lay the mesh on the hob and light the gas. As it heats up you'll notice cherry red areas. If you don't get any red spots, the hob design may mean that the flame may be too far from the mesh.

Turn the gas off and, after the mesh has cooled, lay your dried clay on one of the red spots. Relight the gas and fire your piece for 6 minutes, making sure that it's still in a red spot. Although the mesh will glow red, your piece won't. Let it cool before you touch it, or the mesh. The mesh will discolour, but that's normal.

As materials heat up they radiate light of different colours. The colour is a good enough guide to the temperature:

COOKING THE SILVER

Ideally, Art Clay needs firing for a set time at a set temperature. However, with practice you can fire small pieces with on metal mesh on a camping gaz ring.

The gaz ring we tested cost £14.95, including a gaz cartridge. It's easy to set up anywhere and won't burn your work table. After firing, just turn the gas off and let it cool naturally.

COOKING THE SILVER

Ideally, Art Clay needs firing for a set time at a set temperature. However, with practice you can fire small pieces with on metal mesh on a kitchen hob.

Kitchen gas rings usually make four hotspots on the mesh. Place your piece on one of the hotspots. After firing, just turn the gas off and let it cool naturally.

HOT STUFF

Ideally, Art Clay needs firing for a set time at a set temperature. However, with practice you can fire small pieces with a gas torch.

The Kitiki butane torch is lightweight and simple-to-use. You hold it like a pen. It's 162mm long and 20mm in diameter: so a comfortable size to work with. It comes with a work surface: a heat-resistant ceramic fibre block.

A plumbers' soldering blowlamp, with screw-on gas refills, is too heavy to use precisely. The flame is too big. And it costs more.

Before filling the torch with butane gas, stand away from anything hot, make sure that the torch is turned off, and hold it away from your face.

Shake the can a few times, and press the nozzle vertically down into the torch's filler valve. Pump the nozzle gently: if you press too hard or too long the gas will spray backwards. There's a knack, so experiment.

Completely fill the torch, moving the nozzle slightly so that it seats properly. Stop, as soon as it begins to overflow. The whole torch should feel cold. One fill lasts up to 40 minutes but, before firing anything, make sure the torch is ready.

Wait two minutes before lighting the torch, so that the gas can stabilise. As you open the valve, the gas should make a slight hissing: so it's ready to light. Face it away from you. Click the ignition.

The flame length should be 12-25mm. A longer flame will waste gas. The flame temperature can reach 1300°C, about 2370°F. After use, the nozzle will be hot for a while, so lay the torch on a heat resistant surface.

New torches don't contain gas and we can't post gas cans. Some people say they prefer the Swan brand of butane, which is usually sold in newsagents and supermarkets. However, whichever you use, it must be refined butane. Keep a spare, in case you run out whilst working.

Generally, butane filling is awkward and unpredictable. Very few devices fill quickly and easily, or last as long as the manufacturers say. If you're running courses, make sure that you understand how to fill and use your torch.

Lay your piece on a ceramic block and light the torch. As it heats up you'll notice it turn cherry red. Fire your piece for 5 minutes. Let it cool before you touch it, or the mesh.

With larger pieces, it's very difficult to check that all parts of the piece have sintered properly. Also, too much heat will turn your piece into a blob.

Although it's usually better to fire Art Clay in a kiln, to make sure that it sinters completely, firing small pieces with a gas torch is quick, easy, and cheap. However, ruining your work can also be quick, easy, and cheap: under-firing will probably lead to your piece being weak, and breaking; and over-firing will probably begin to melt the silver, losing any detail.

If the piece isn't dry before firing, the water will turn to steam during firing and the pressure increase may crack the clay, or shatter it: this is the most common cause of breakages.

Having explained how to use a torch, I must say that a kiln is so much easier. Some torches are difficult to fill, some deteriorate with prolonged use at high temperature, and some do unexpected things. For example, whilst doing a demonstration at a show, the torch suddenly threw out a long flame: as it's not practical to give your audience protective eye-ware, it could have caused an accident.

If you're using a torch, there's always a slight risk that you'll have an accident with hot metal or set fire to something. It's important to have a fire extinguisher, nearby. Read the instructions as soon as you unpack it, learn how to treat burns, buy a basic first aid kit, and fit a smoke alarm.

If you're running courses, you may need public liability insurance. And check that you have complied with the local health and safety regulations. These may include providing fire extinguishers, protective eyeware, first-aid training, disabled access, and fire exits.

PROTECTION

If you've just dried or fired Art Clay or PMC, you need to take out the hot shelf and put it somewhere safe. Vermiculite is ideal. The vermiculite in the photo is expanded hydrated phlogopite mica: the particles are very light, non-toxic, and won't fuse until at least 1200°C, about 2200°F.

Vermiculite is used to support delicate pieces in the kiln and, spread in a tray, gives you somewhere to put the hot kiln shelf whilst it cools.

It's not easy to find vermiculite in the high street. The Kitiki vermiculite comes in 200gm or 400gm bags and will last a long time.

Finally, if you use a tray of vermiculite, keep it covered when not in use, to prevent stray materials mixing and getting stuck to your work. Also, vermiculite particles are very light and can jump onto your clothes if your movement generates static electricity, or blow everywhere if there's a window open.

A COMFORT ZONE

Fibre cloths are used to support delicate pieces in the kiln, either as a flat surface or cut into pieces. The Kitiki fibre cloths are 225mm x 150mm x 6mm.

KEEP IT COOL

If you've just dried or fired Art Clay or PMC, you need to take out the hot shelf and put it somewhere safe. A ceramic fibre block is ideal.

Be careful if you use any other materials: plastic will melt, wood will burn, glass will shatter, a tile will crack, a firebrick is brittle and heavy, and welders' squares and plumbers' mats are too thin. On a kitchen worktop, the wood will burn or the laminate will discolour and lift. Metal will just conduct the heat to the surface it's resting on.

If you're firing anything small and rounded, be careful that it doesn't roll off and break or burn something. The ceramic fibre block is very soft, so you could make a slight hollow on one side. However, if you fire two things, make sure they don't roll together and touch.

The Kitiki heat-resistant block is made from light ceramic fibre. It's 150mm x 100mm x 50mm. Unlike a heavy rough-cast fire brick, won't scratch the work top if you move it about.