Potters who are ready to explore new atmospheric firing techniques will find Mastering Kilns & Firing to be an indispensable guide. Lindsay introduces each type of firing from an approachable, collaborative perspective with inspiring examples of contemporary work by a variety of artists. She guides readers so they not only learn the basics needed to achieve success, but also feel empowered to experiment, explore, and have fun. * Jessica Knapp, editor, Ceramics Monthly * Mastering Kilns & Firing offers a wealth of knowledge. Oesterritter's dedication both to processes and the community-building they inspire are apparent in her competent writing and echoed in the beautiful guest artist galleries. This text should be a staple of any clay workers library. * Elenor Wilson, editor, Studio Potter Journal * Lindsay, a master of deep, rich surfaces, has written a personal, professional, and all-around practical guide to kilns and firing. Her years of teaching and experience as a maker are obvious in this book. It will save you countless hours on your own ceramic journey. * Simon Levin, potter, kiln builder, and Fulbright Scholar * Lindsay has produced a gorgeous and invaluable book for people with all levels of interest and skill. Clear prose and excellent presentation make this book a page-turner; I repeatedly found myself wondering what exquisite beauty and careful explanation lay ahead. * Bill Griffith, educator, administrator, and artist, Arrowmont School of Arts and Crafts * Based on her many years of experience as an educator and as a professional potter, Lindsay gives the reader well-informed insight regarding what to consider, how to prepare, and those all-important health and safety concerns when working with kilns and firing. * Robert Sanderson, co-editor, The Log Book, International Wood-fired Ceramics Publication * Accessible and readable, this book brings clarity and refreshing insight into the often-cumbersome process of wood- and alternative-firings. It is well organized and richly illustrated, covering all the bases. * Peter R. Beasecker, potter and professor of art, Syracuse University *