Next day, I put the clay slurry with magazine paper on the in- and outside of the kiln. Thicker paper and with colors (the chemicals in the ink) on it make it more refractory.

Around 3pm a group of high school kids from an NOCCA art center came to have a look and they helped me finishing the neck of the kiln and still put a layer all over with lots of enthusiasm.
Then I cut some wire again for making kind of shelves to put different layers of pots.


A quarter side of the kiln was still open, because I had to fill it the next day.

On the other side of the field, Fred Olsen and Richard White’s kiln was becoming very impressive. They would start the firing already that night, very slowly.