For something like this you could use almost anything. Hot glue, E-6000, silicone caulking, liquid nails, etc. Heck, you can even just use those staples/brads to hold it in the frame. Just make sure the FRAME is up to the task.
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Posted by perkolator on 24 March 2016 - 12:16 PM
I'd personally end up doing what I saw in a Korean onggi video if I didn't want to deal with dust or small 5-gal reclaim batches. If you can do it, store your reclaim in trash cans and wait until the weather clears (or do it somewhere indoors i suppose). They can be outdoors since you said no space inside.
Simply pour/scoop out your reclaim slurry onto a big plastic sheet/tarp, let it evaporate to the consistency you like, then cut strips and roll it up like sod grass. Run these through your pugger and store them/use them. To me it seems like much less work than doing smaller batches.
Posted by perkolator on 11 February 2016 - 06:32 PM
I would never personally bisque cone packs. My theory is that when you re-fire ceramics the "maturation temp" so to speak goes down a little each time you re-fire. So if ^04 was originally at 1941* the first time, it might be 1925* the second time, etc. I'd never want to compromise the device that is measuring the maturation temp in the kiln, so I'll never bisque cone packs.
The standard is to either make cone packs in advance so they are bone dry, or to perforate the clay with hundreds of pin holes to allow steam to escape quickly. In our studio we simply use kiln putty/kiln wadding to embed our cones in, instead of regular clay. It's the same material we use between bricks and shelves in our stack, since our biggest two kilns are a shuttle and a trackless, with literally tons of weight on them and plenty of vibrations - the wadding helps dampen vibrations and also level shelves against bricks. I've stuck freshly made cone packs and kiln gods and small wadding sculptures directly into all types of firings and have never seen it crack, split, blow up, etc. It's an expensive material since it's a consumable that's only used for firing.
Kiln wadding recipe:
Posted by perkolator on 11 February 2016 - 06:07 PM
I second trying a non-ceramics supplier for their silicon carbide. Lapidary supply, glasswork suppliers, maybe sandblasting, etc should all carry it. I want to say our print lab gets their SiC for grinding/polishing lithography stones from a print/litho supplier.
The only issue I see with buying from a non-ceramics source is they might categorize the SiC based on GRIT size vs MESH size. I'm not sure on the conversion, there should be info online about this. I know our print lab has as fine as 800 grit I think, which is pretty fine.
Posted by perkolator on 10 February 2016 - 08:21 PM
You can use either Frit, Gerstley Borate, or make an underglaze with equal parts clay color and flux. Frits, being fired material usually leave a gritty/sandy texture to the wash, some people use CMC, laundry starch, karo syrup, etc to help. Usually I use GB and CMC gum solution, sometimes add a little bit of EPK in it too.
Look up Linda Arbuckle's majolica notes, she's got a lot of suggestions for combos of washes. Most are by volume, not weight.
Here ya go:
Posted by perkolator on 29 June 2015 - 05:39 PM
DO NOT use grease, WD-40, vaseline or any other oil-based substance like suggested above, as your mold release. The whole point of using plaster is to take advantage of the capillary/wicking action of the material, to pull water from the clay and set it up faster - if you go and use something oil-based as a mold release, you've now clogged the pores and severely diminished capillary action, if any at all.
Use actual "mold soap" or purelube/greensoap, which are the products that should be available from any ceramics supply. Alternative is diluted Murphy's Oil Soap.
Posted by perkolator on 28 April 2015 - 01:59 PM
Cleaning sink trap has got to be #1 only based on the smell.
A very close contender is making a batch of clay with a super-smelly reclaim barrel which smells as bad as a sink trap, because it's full of dead skin cells, newspaper bits, etc and has been sitting in the sun for a few weeks....and you're putting your bare hands in it...and your head goes into or very close to the trash can because you're reaching to the bottom...at least with the sink trap you can use a wet-vac and cover your nose with the free-hand.
Posted by perkolator on 19 November 2014 - 08:39 PM
yep, open the foot pedal via the bottom plastic plate. inside there are two crews that control the stops of the potentiometer. manual explains it much better.
if it was an issue of the wheel never stops or never starts - usually it's resulting after you drop the foot pedal - usual cause is either the plastic lever inside has somehow slipped off the potentiometer's lever arm, or the two plastic tabs on the main arm have broken off and no longer move the potentiometer. I have both of this fault happen at least once a year on my Brent wheels.
this pic pretty much shows all the parts:
Posted by perkolator on 23 October 2014 - 01:10 PM
no, the different slips should not bleed into one another unless you layer them when they are sloppy wet - and in that case it should be pretty obvious when you're witnessing the previous color bleeding into the 2nd bucket while you dip. simply dip the object, let it dry to around leather-hard or slightly wetter (at least enough to lose its glossy sheen), then dip your next layer(s) and repeat. one layer should net you a thickness roughly 1/16" thick is my guess (on a non-porous object), but truly depends on viscosity of the slip. you can also do multiple layers of each color so they're thicker if you need it.
the main reasons why i suggested food coloring is because the stains or oxides are pricey, but also because it sounds like you're going to be wasting the materials by hosing them off...and then you have the environmental factor depending on where your materials end up once hosed off. clay materials should be fine to wash off into environment, but once you start adding in metallic oxides in concentration we're talking about something different.
Posted by perkolator on 23 October 2014 - 10:01 AM
Posted by perkolator on 22 October 2014 - 06:13 PM
i'll share a few...sorry for big pics, it won't let me upload from the file sizes i have.
i'm very privileged with the studio that i get to run and maintain. not really sure how i'm going to deal with the change when it comes time to pass the torch...
originally build as an army barracks in 1947
typical clay run, i do 2-3/year
Posted by perkolator on 22 October 2014 - 05:21 PM
i suggest casting slip.
try calling up some local ceramics suppliers (or even a ceramics studio) - you may have one that makes their own casting slip in large quantities. if so, it's usually pretty cheap (compared to commercial slips) and sometimes you can buy it in 5-gal buckets if you're lucky.
due to the properties of casting slip, i think this specific clay variation will be best for your application because it should really cling to the object and dries differently than your regular clay for throwing or sculpture.
also, since you want color variation and because you're not firing the material (and will likely get it all over the place with the water blasting) i would suggest you color the slip with something like food coloring. personally, i'm colorblind and have many times used food coloring in my glazes so i can tell the difference when i'm glazing with multiple glazes. food coloring simply burns out in kiln.
Posted by perkolator on 07 October 2014 - 07:19 PM
Arnie's Fish Sauce Slip
43.6 Grolleg/China Clay/Kaolin
23.4 F-4/Minspar/soda spar
can be mixed super thick, like cream cheese thick. have had students pipe it out with success.
another option would be a 2nd firing with white Egyptian paste as the icing.
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