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About Round2potter

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    Advanced Member
  • Birthday 02/17/1992

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    Portland, Orygun
  1. Try brushing onto wetware (leatherhard) as painting on bisque sucks up so much moisture from the brush that it can make it hard to get detailed, seamless lines.
  2. One cannot simply copy an ash glaze. Phil Rogers experimented for years and years to get the results he wanted; so you might have too as well! Ash glazes can change from tree to tree (literally) and from forest to forest, and especially from species to species!!! If you wash your ash it will be different, also it depends on how much you wash your ash! I am gonna pull up some starter recipes from Ben Greens book on ceramic glazes Ok, pg 44 Recipe A: 20 Clay 40 Spar 40 Ash Recipe B: 50 Spar or Cornish Stone 50 Ash Recipe C: 50 Clay 50 Ash He states "Recipe C is usually applied like a slip to unfired, leatherhard pots. If the preliminary test appears dry, more feldspar should be added; when the results pool at the bottom of the bowl, the recipe requires additional clay. Some improvements in fusibility will sometimes result from the substitution of wood ash for vegetable ash." He mentions that with ashes, trial and error testing should be done on every new batch of ash because variations in the material are unpreventable. Cheers! -Burt
  3. AtomicAxe, that is quite a sweet little series of tests you have going! I am a geology major in school and this seems a slightly odd choice of minerals to gather for a glaze. Let me stress though, that no matter how "weird a choice" i might think it is, ROCK ON MAN (get it...) keep up the testing!!! Now I will add my 2 bits; look for other, much softer, minerals in your area, Quartzite is a metamorphic rock that is in essence compressed sandstone, which being mostly quartz, is very hard and difficult to process. So, my question is, Are there streams or rivers nearby that you have access too? What is the area like? is there any type of rock that is abundant in the landscape? If you are gathering quartzite than you will most likely find what used to be quartzite in the form of sand/clay deposits. Or look around for things like Gneiss and granite or basalt; most of these rocks are softer than (almost) pure quartz. Cheers! -Burt Oh, and to tie this in to the thread a little bit; using softer materials saves on milling time, wear and tear on equipment, energy costs, and it increases the amount of material you can process at once and over a period of time.
  4. And if you have a ball mill you can play with all sorts of fun materials around your home, like gather and process your own glaze ingredients. I recently ball milled some basalt rich sand i gathered for about three days and got some nice results firing to cone ten in an electric but worse in reduction. So i cut it with feldspar and clay in a small series and got a gorgeous Temmoku-like brown with nice breaks.
  5. I was poking through the studio glaze material supply room looking for some nickel oxide and i stumbled upon a bin of Antimony oxide atop a bin of "tin vanadium"; all of this infront of the Molybendum and Iron Chromate I am not gonna use the Iron Chromate, no need. What is Tin Vanadium? all i can tell from googling is that it is purified using zinc for some fancy reason and then it is almost pure, with just a little zinc left over; but would it be pentoxide or something else? Is it soluble in water like iron chromate? The antimony i know is terribly toxic, as well as the iron chromate, as well as the vanadium to a lesser extent but does anybody know about Molybendum? Or why i cant find any ceramic supplier that carries it? Even the one i found that has erbium, vanadium, antimony and neodynium doesnt have it. Cheers! -Burt
  6. This is soooo cool! At my studio we have some "kiln gods" that are loaded into every single fire; some of them are as old as 30+ years having seen hundreds if not a thousand firings. I was pleasantly surprised to hear that one of the gods was made in the 80's by a close family friend when she learned from the man that is now my mentor. Infact said kiln god is about 2100 degrees right now in some serious reduction! I dont say a prayer or take a dram or anything before we fire, but i always make sure that the gods are placed so that they might feel the lick of the flame as i would assume, a kiln god would like. Cheers!
  7. so on a sorta related note........... Energy drinks are super high in vitamin b12, which is our bodies only use for Cobalt metal; it is the base atom for the molecule. I want to, and this is making me more giddy to do so, make a clear glaze base and substitute water for rockstar to see iff i can get a nice blue.
  8. We unloaded the high-fire reduction kiln today, after i wrote that post, and the funniest thing happened, also tragic. a very nice looking jar, with the most perfect glaze/brush stroke decoration. I used wadding to hold a bunch of my lid up above the glazed interior, but this jar i thought would be alright. Turns out that the lid shrank too much, as it was a little on the small side, and fell down into the pot; permanently glazed in place. Oh well! i think i am going to keep using little coils of wadding on my lids from now on! Besides my wadding is fun to work with, it has the consistency of corn starch and water (non neutonian solid or something like that). THEN!!!! When i took home my most favorite mug with my grandmothers secret "Shaner Red" glaze (she learned from him at the Bray before and in the first year he was director); a glaze which is finicky but was PERFECT ON THIS MUG. Anyway, i rinsed it off and set it on the counter, bumped it with the coffee pot and BANG went the handle as it hit the floor. AHHHH!!! it is days like this that i have to remember the humble words of my first teacher Jack Walsh: "It's just mud". I'll just have good excuse to make another one. Keep breaking stuff and sealing lids forever, cheers!
  9. Timbo, Oh my oh my! yes!!! i cant tell ya how many times i have mucked things up before i drank coffee, droped stuff, rammed vases against walls and shelves......... Coffee First!
  10. oh one more thing! remeber to account for your accuracy. if your graduated cylinder has hash marks to the ml the accuracy is to the 0.0 ml if your marks go to the tenth of a ml your accuracy is to the 0.00 ml. same goes for your scale, if you use a graduated cylinder and scall that only measures to the gram or ml (no the tenth of hundredth) than you can only accurately calculate specific gravity to the 0.0 g/ml; although your calculator might spit out a few more decimal points, you must round to your level of accuracy. kind of a little over the top for all practical matters, but it is important to keep in mind non the less -cheers!
  11. To measure the specific gravity of your glaze without any fancy tools is easy! I do this to all my new glaze test recipes to ensure my variables are held constant. 1. Weigh your graduated cylinder or beaker, write it down, example, 80 grams 2. Fill your graduated cylinder to the 100 ml mark with your VERY WELL MIXED glaze, remember that surface tension is in effect so the highest point (the edge) should be flush with the line. 3. Weigh the graduated cylinder. example, 220 grams 4. Subtract the original weight of the container from the net weight of the container and glaze; this is the total weight of the glaze and water. example, 220grams minus 80grams equals 140 grams. 5. Now is the easy part! if you measured to 100 ml in your graduated cylinder the next calculation is already done for you, the total weight found in step #4 is also the specific gravity, all that needs to be changed is the unit. 140 grams is the weight of 100 ml of glaze that is 140 grams/ml (which is equivalent to 140 grams/cm3) Always be sure to keep track of your units! the metric system is superior, and i am an American! The gram is based on the weight of one ml of water, so water has a constant specific gravity of 1 gram/ml (at sea level and room temp ~68 degrees). If you measure less than 100 ml (for example 50 ml) all you need to do is multiply the net weight of the glaze and water (but not the contaainer) by whatever will get you to 100 (in my example of 50, you would multiply by 2). In the event that you use more than 100 ml of glaze, you would divide instead of multiply. -Cheers!
  12. Much caution is being taken on house fires. My plan this far is too try to wire it, and then bring it to my school lab where i know they have the proper setup and testing it; then decide whether or not it is worth getting an electrician to come check things out. Thanks so much for your input. i'll get in contact with somebody who has been "in the business" for a long time to see what is up. Thanks again!! -Burt
  13. its 115 volt at 19 amps and uses 2200 watts i bought today a plug for it and a 20 amp wall plug to wire in so i can use it. The real big question now is how do i wire the plug onto the cord????? white to black black to red green to blue idk...... The plug i bought i now found out has three terminal hookups (white black and green) while the cord coming form the kiln has green black white and RED. What do i do????
  14. i dont really use them on my pieces a lot; just once or twice, usually i will just lay it on the glazed pot wherever i want it. A SMALL bit of fluorite on top of a clear glaze is cool looking. Obsidean is really sweet as well.
  15. Yeah, i looked at home depot and they have plugs both heavy duty and industrial duty rated at 20 amp. Normally the plugs for lamps and stuff uses 10 or 15 am plugs. I am going to talk to the lab tech at my school about it, he knows all!
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