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Member Since 14 Nov 2012
Offline Last Active May 19 2017 11:19 AM

#101860 Materials For ^6 Copper Red Oxidation

Posted by mregecko on 11 February 2016 - 06:50 PM

John Britt lists a handful of copper red oxidation recipes in his The Complete Guide to Mid-Range Glazes.  page 103.  Frits are of the common variety . . . 3110, 3124, 3134; silicon carbide mesh is 600.


Looks like I have even more reason to grab that book now!

#101845 Materials For ^6 Copper Red Oxidation

Posted by mregecko on 11 February 2016 - 05:49 PM

Hi Folks -- I'm looking to play around with some ^6 Copper Reds in Oxidation using chemical reduction. I've read the classic Pearsons article, as well as Tom Turner's great research on doing the same at ^9.


The problem I'm having is finding some of the listed ingredients.


I've reached out to General Color & Chemical, but my standard suppliers don't have any of the General Color Frits or even their Ferro equivalents (GF-146 / Ferro 210R for example). I'm also having a hard time finding anything other than chunky 400-mesh Silicon Carbide.


Any recommendations for suppliers here?


Thanks in advance!

-- M

#80172 Do You Touch Things In Museums?

Posted by mregecko on 27 April 2015 - 10:29 AM

I had a very long response typed up, but just deleted it because I cannot think of how to say my honest feelings without coming off aggressive or offensive. So I'll retreat from this discussion, and just say we have two points of view on this.

My point of view on "handling" museum work causes no potential danger to priceless works of art when you apply it to the millions of people through museums every year.

Can you say the same about your point of view?

#74011 Black Mountain Clay And Matt Glaze

Posted by mregecko on 24 January 2015 - 07:11 PM

Time for photos!


I've got more at higher resolutions up in a Picasa album here: Shino Test Tiles


Tiles 1,2,3,4

Tiles 6,7,8,9,10

Tiles 11,12,13,14,15

Tiles 15,17,16


The small cups in front of some of the tiles are the same glaze as the tile behind it, but fired flat. 


A lot of these are slight variations from John Britt's high-fire glaze book. One or two I think came from these boards. 


But, if anyone has questions about method / recipes / whatnot, definitely let me know. I really love this clay, it's my favorite I've ever worked with...


Too bad I don't have my own ^10rx kiln to work with it all the time! :angry:  Womp womp.


#73992 Black Mountain Clay And Matt Glaze

Posted by mregecko on 24 January 2015 - 02:08 PM

Dark dark brown, almost black. I'll take some photos today when I pop by the studio.

#59898 White Spots On Bisque-Fired Brown Clay

Posted by mregecko on 03 June 2014 - 01:01 PM

I have this happen sometimes with darker clay bodies. As was said above, it's usually scumming; but it can also be dust / detritus loose in the kiln from pieces from a white body, or even kiln wash if you're unlucky.


I'd say about 80% of the time, I can fix it with some vigorous sanding in the bisque stage. Obviously take proper precautions to not breath the dust from sanding.


If this doesn't work, then your best bet is to cover it up. It can absolutely show in the final firing.

#58142 Maybe We Have Been Missing A Trick.

Posted by mregecko on 08 May 2014 - 09:54 AM

I take all of my medical advice from African taxi drivers, don't you?


Also, a negative charge would repel a negative isotope.

She doesn't strike me as the brightest penny in the jar.

#58018 Help! Miss Clay.. Hands Developing Scales, Allergy Eczema ?

Posted by mregecko on 06 May 2014 - 04:37 PM

I hate to state the obvious, but I don't think many people on here are medical doctors. Your best bet would be to see a dermatologist or your family physician.


It could be something as simple as irritated skin from grog / clay / constant moisture / etc... but it could also be an allergic reaction, or if your clay or glazes have specific materials that you're sensitive to. Who knows?


I, personally, would see my doctor.

#57939 Slip Casting Big Vases. Is It Possible?

Posted by mregecko on 05 May 2014 - 01:52 PM

I have seen large slipcasting molds like this, but remember that much plaster is HEAVY... There's usually rigs for holding / pouring out slip, large catch buckets, etc. It's definitely a process.


I've also seen people do large pieces like this with slipcast sections. Split the vases into two halves and join them (slip & score), blend the line, and you won't be able to tell much of a difference.


Either way, it's a good bit of work. But definitely do-able.

#56037 Runny "fern" Glaze?

Posted by mregecko on 03 April 2014 - 10:34 PM

The posting actually calls out the glaze as a fake ash.

Look up Hannah's Fake Ash on google, it's very similar. My guess is the same (or essentially so) base recipe with some tweaks on the colorants.

#55657 Check Your Tools

Posted by mregecko on 28 March 2014 - 06:56 PM

For what it's worth, I think that's a really cool inclusion. Many people ADD bits of metal to their pieces specifically to get looks like that.


Imperfect can be pretty :-)

#54537 Making Under Glaze Pencils

Posted by mregecko on 12 March 2014 - 05:40 PM

If you're dead set on it, there's an article here:



But they really aren't that expensive (Blick has them listed as a set of 6 colors for around $45). Probably not the cheapest retailer, but they also have frequent 30-50% sales that I take advantage of.


It'll be cheapear / easier than tweaking formulas for colorant percentages, firing at different temperatures for the right hardness, etc.

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#50408 Crazing Problem

Posted by mregecko on 16 January 2014 - 11:44 AM

Another option could be your pyrometer being miscalibrated. You're firing to 998o but if the pyrometer has aged or something has affected the voltage across it, then that could be inaccurate. Worth checking on too.

It could also be a clay body difference. Contact the manufacturer and see if anything has been reformulated recently.

#47681 Weird Cones From Elec Firing- Update

Posted by mregecko on 11 December 2013 - 11:27 PM

I don't believe anyone has addressed the issue that immediately springs to my mind.....


How are you loading these kilns, with regards to shelf placement?


You said that the bottom of the kiln is a full 1.5-2 cones lower... This has absolutely been my experience if you place shelves close together at the bottom of the kiln.


This may not be the case for you, but I just hadn't seen anyone propose that as a cause yet.


Since (on an elementary level), heat rises, the bottom of the kiln will tend to be cooler. You can mitigate this by creating larger "chambers" at the bottom of the kiln throughout which heat can circulate.


But if you have a few 4" layers of plates/flat ornaments at the bottom, with tall objects on top, the top of the kiln will absolutely fire 2 cones hotter.


-- M

#44848 Why New Blisters On Re-Fired Glazed Pot?

Posted by mregecko on 29 October 2013 - 06:04 PM

Refires are like a box of chocolate......


I always know what I'm going to get with a box of chocolates! They have the map printed on the lid! ;-)

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