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About richardsan

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  • Birthday 02/03/1953

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  • Gender
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  • Location
    sweating on the gulf coast
  • Interests
    metal, clay, metal on clay, melting metal in clay...etc.
  1. i just asked about a similar solution to something like this. ...i'm trying to avoid an extra cleaning step...; ^)...i'm in the "i don't glaze bottoms" camp. i do the liner first...swirl and pour out[that usually leaves about a 1 inch glaze pour 'mark' at the lip]. then dunk upside down as far as i want to near the bottom and then drain upside down to prevent drips. i think my tape idea will suit my process and prevent that drip off the lip i'm not exactly anal about, don't mind, but want to do something different this glaze cycle. i think a piece of green/blue painter's tape will be a fast enough solution and glaze resistant...a 1.5" strip of the tape applied to the area where one is going to pour the liner glaze from...should act as a sort of spout for the glaze to run off and not stick to that edge of the lip. i use the tape for some glaze spraying masking applications. hope this helps....
  2. wanting to test the string driven thread about texturing, i did some quick tools to see what works. left to right: fishing line with brass grommets. large diameter string with blood knots spaced widely[drawn diagonally across a slab]. thinner dia. string, doubled and blood knots. even thinner string combo overhand and blood knot. these test tools were made in about half an hour with readily available 'stuff' at home. i also am a jeweller, so my 'stores' may be a bit more vast. i tried knotting some irregular hematite beads, but they slipped over the knots and didn't produce a good result. i can see using this in my future...hope it helps someone else needing something FUN and spontaneous.
  3. i disagree with the slow speed recommendations...'self-lubricating' plastics like to be processed with high speed cutters. you have to use the right tools for the job, though. i wonder, if the blade is dull or the correct blade for the material or if your process is too slow...i have a woodworking studio that i use for fabrication. i also use that white poly material for extruder dies and i use high speed equipment to cut them. i cut the blanks on my cabinet maker's table saw. then use my router, zip tool to help or finish the die profile. i've done a lot of work with perspex/plexiglass and the only time i noticed 'melting' was letting the tool stay in one spot, too long. i was even polishing assembled/cast plastics with the same processes i use in my jewellery making. without looking over your shoulder, that's my best guess as to what's happening. use sharp/fast tools and don't linger...and make sure you're using the proper blades...fine metal cutting teeth are good for metal...polys/plastics are "similar" to wood, use wood cutting or specialty plastic cutting blades if you can fine them. for a coping/jeweler's saw, there are special spiral wax cutting blades one could use instead of the regular blades. hth
  4. i had a difficult gluing up job. cone 6 glazed ware and a plastic threaded collar. tried epoxies/silicons nothing would hold. then reading a label of one of the special cyano-type glues...it has rubber in it and i thought to use it as the glue area already had a silicon base. glued it up and it is holding very well so far. the flatter the two surfaces are the better the adhesion.
  5. is this a gas or electric kiln? ...waiting fills.... if your glazes and clay bodies are well fitted, you may not have much of a problem, maybe some crackling... but if mismatched, you could waste materials and energy costs by fast cool downs and be disappointed in the end result. if your work has 'appendages' they may suffer consequence, as well. you can get a venting system for most electric kilns. it a small blower fan that pulls air from the top of the kiln, straight the way down...evening the temperatures out a bit and also cooling the kiln a bit. i have one, but have been too busy to install it ; ^) i also think, that chemically, you could be interfering with the glazes' colouring, by too fast cooling. maybe a ceramic chemist here will have more to say about that. when my kilns are about 500°f i start some forced cooling by removing a peep hole plug or two...and set a box fan blowing on it. my studio is plein aire, and do not have an enclosed work place. with all that, it may depend a lot on the clay body and glazes...you've (no doubt) seen raku being processed. with all that thermal shock on clay bodies mostly formulated for it, clay can be a bit predictable(or not) with forced cooling...; ^)
  6. thanks johanna, very handy info, indeed!
  7. nope, i wouldn't do that either...is there no glazing solution to fit the clay body? have you looked for an acceptable recipe for it? ^7-10 wouldn't be a bisque firing. those are vitrifying temperatures. vitrify: convert (something) into glass or a glasslike substance, typically by exposure to heat. liquids[glaze] would have trouble adhering to a fully matured[vitrified] object. please read something that explains what the purpose of a bisque fire at the much lower temperature is for, and what happens to the clay at those lower temps...then read what happens [chemically] to clay and glaze at the higher temp. i'd do a test on your already [properly] bisqued ware to see if your RIO stain will be acceptable on the outside at ^7-10 and while that is firing, research a good liner glaze for ^7-10 so you can marry your clay, staining and glazing scheme. quite simply, though, is you prob. don't need a liner glaze if your ware is well made, just test the RIO stain at the maturing temp. the vitrification at ^7-10 may suffice. is this for food? I'm not much help in answering to your problem, savant, but thought maybe John could expand on this thought ... In trying to use this clay body (^7-10) with this glaze (^6), would it work and be a decent compatible 'fit' if the stoneware was fired to ^9-10 as bisque and then glazed and fired to ^6? I don't think it would be the normal approach but seems I've read that many ceramists do fire their items at a higher temp and often apply many (over/under?) glazes at lower temps as there is more diversity of brighter colors at the lower temperatures. That would mature the clay, but how will the glaze be affected for 'fit'? Possibly warming the ceramic a tad bit before glazing would help the glaze to go on the less porous matured clay, or would it not? ....Rick
  8. i've been madly using my 4" northstar extruder with dies i cut from Polyethylene cutting boards. i'm waiting delivery of a bailey specialty tile extruder, it's going to expand what i make, immensely. the larger the profile, the easier to extrude/ but the box will require more frequent 'feeding'... pencil thin, you should make a die with multiple holes, so the energy expended will give a better yield. i did this with a die i made for making strands for weaving. there are 6 holes. there may be wood dies, but i haven't seen any in any of the searching i did for a new extruder. i just use the poly. and woodworking tools to make my profiles.
  9. i didn't get the addendum of instructions and "acceptable" HP printers with the sheets of decal materials. does anyone use this process? what printer and firing instructions have you relied on? anything else one should know before jumping in? tia, richard
  10. Thanks for the idea. Unfortunately, I'm not all that handy with a brush. how big are the letters? ...i use raised stamps to indent my work, then dab a little glaze on the bisque, then wipe down, leaving a bit of glaze in the indent. i then mask off and air brush/dip. you could try coloured slips on your greenware, as well. work out a masking scheme. i use painters tape on bisque. and...get better with your brush...; ^)
  11. resolving design elements are an easy path. don't struggle with the walk, enjoy the stroll. wavy edges are easy. adding a coil, as mentioned will finish off the rim of a bowl quite nicely. maybe draw the view towards the interior with the rim extending partway into the bowl. so many possibilities...look at some antiquity pieces[museum or online search] hth richard
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