Frequently asked questions

Our showroom and warehouse are at 3310 Keller Springs Rd, STE 130, Carrollton, TX 75006. You can pick up in Carrollton, or choose one of our satellite pickup locations across Dallas-Fort Worth at checkout to collect your order closer to home.

Yes. We deliver in bulk across the Dallas-Fort Worth metroplex, which matters most for heavy clay and fragile glaze that does not ship well cross-country. For larger studios and schools we set up standing delivery schedules with case and pallet pricing. Call us at 817-535-2651 to arrange delivery.

Yes. We work with schools, districts, and production studios on account terms, purchase orders, and bulk pricing. Reach out through our contact page or call us and we will set up an account that fits your procurement process.

Start with the cone you want to fire to and give yourself headroom. A kiln rated higher than your usual firing lasts longer because its elements are not working at their limit every load. Then confirm your electrical service, most studio kilns need a dedicated 240V circuit, and plan for venting. We help you work through all three before you buy.

Kilns are rarely perfectly uniform from top to bottom. Heat moves, and without zone control you will see variation between shelves. Witness cones on each shelf show you the real heatwork your ware experienced, which is what actually matures clay and glaze, not just the controller's temperature reading. If the variation is severe or new, it can signal aging elements or a drifting thermocouple, which is a repair we handle.

Cones measure heatwork, the combination of temperature and time, not just temperature. Cone 04 is a low-fire range (around 1945°F) common in classrooms and for bright commercial glazes. Cone 6 is a mid-range (around 2232°F) where stoneware vitrifies and many studio glazes mature. Your clay body and glazes must be rated for the same cone or they will not fit together.

Yes, and it is one of the things that sets us apart. We replace elements and thermocouples, diagnose controllers and relays, and run firing-uniformity tune-ups. We service the brands we sell and are glad to look at others. Schools and studios can set up preventive maintenance so a kiln does not fail the week before a deadline.

Always. Glaze charts are fired on a reference clay body in someone else's kiln. Your clay, your cone, and your firing schedule all change the result. A few test tiles before committing a full load saves whole kiln loads of disappointment.

Underglaze is colored slip you apply for detail and decoration; it does not melt into a glassy surface on its own and usually needs a clear glaze over it to seal and shine. Glaze is the glassy coating that melts in the firing. Many makers use both: underglaze for line work and imagery, a clear glaze on top to finish it.

Match it to your firing temperature and your work. Low-fire earthenware suits classrooms and bright commercial glazes; cone 6 stoneware is the studio standard; porcelain rewards skill with translucency. The body and your glazes must share a cone. Tell us what you make and what kiln you fire and we will point you to the right body.

Yes. We run TAEA classes, in-service sessions, and continuing-education for Texas art teachers, and we provide onsite training to get new school and studio programs running. We focus on the realities of a busy classroom: durable glaze lines, firing schedules that fit a school day, and setups that scale to thirty students and one kiln.