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About C.Banks

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    : Canada
  • Interests
    well made pots, melting stuff

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  1. Anyone have any experience with the Duralite 70d or g high alumina hard bricks? I'm curious how they compare to Moflints in a soda kiln. cheers
  2. Ryan Coppage, PhD along with Ruhan Farsin and Laura Runyen-Janecky, PhD published a similar study. The Scribd article has been deleted but thankfully it's still available: Techno File: Dirty Dishes http://www.ryancoppage.com/research-and-publications.html
  3. I found this image the other day and it reminded me to be brave and find something new to say.
  4. I've seen a recipe for clay that encorporates volcanic ash as a feldpspar but the book is not availabe to me at the moment. Volcanic ash can be substitued for feldspar in a glaze but will encourage crazing. Leachs clear glaze accepts volcanic ash nicely at cone 10 but does craze. Small additions of clacium carbonate or silica can help fix crazing. custer feldspar(volcanic ash) = 40 silica = 30 calcium carbonate = 20 epk = 10 This glaze might be considered non-durable because of it's oxide ratio but "...calcia usually hardens a glaze and makes it more scratch and acid resistant" I'm sure discussion on calcia affecting durability and oxide ratios has surfaced in some ceramic circle somewhere but I thought it best just to acknowledge the issue and leave it for another time. *This glaze also has a high Si:Al (silica:alumina) so additions of silica may not work very well to fix the crazing. Materials Amt volcanic ash 40.000 silica 30.000 whiting 20.000 epk 10.000 Total:100.00 Auto Unity Formula CaO 0.80 MgO 0.10 K2O 0.02 Na2O 0.09 (KNaO) 0.10 Al2O3 0.31 SiO2 3.36 Fe2O3 0.02 Ratios Si:Al: 10.7:1 R2O:RO: 0.1:0.9 Expansion 6.4 LOI 10.7
  5. Please be careful with fluorspar/cryolite/lepidolite. For some the drawbacks associated with it's use are not worth it.
  6. I grew up around mining so I'm well aware of the consequences of resource extraction. The original question was about how we felt about the possibility of our use of cobalt suppporting child labour. Responses encouraging the stockpiling of cobalt to take advantage of market fluctuations seems a bit off topic to be perfectly honest. I know this is a prickly subject but this question opens up a whole slew of things we take for granted.
  7. I was thinking more along the lines of doing without cobalt or finding alternatives rather than buying in bulk. My 0.5% cobalt glaze is another 'just a drop in the bucket' but it is mine and every once in a while I get to wondering just how special is it. I know a black glaze can be acheived without cobalt but, of course, batteries are a different issue. Alternatives to Cobalt, the Blood Diaomond of Batteries - Can scientists find a way to power our phones, robots and electric cars without cobalt. Maybe technology will save us sometime in the future. It's a nice thought but maybe, today, I don't need another blue glaze. Or maybe we don't 'need' that market blue at all.
  8. Apple and Google named in US lawsuit over Congolese child cobalt mining deaths I wish there was an option other than not using cobalt altogether. Skutterite might work if a person could work around the arsenic issue.
  9. Tip Toland has some videos if you aren't already aware of her. Maybe something she has out may help.
  10. I think you might be missing the point. A shamrock will always symbolise Ireland. To use a shamrock and not acknowledge it's heritage is a lot like not citing another authors work. Even though made by many cultures an amphora will always be associated with ancient Greece. It seems reasonable enough to admot this. So to answer your question yes, if a person is using a shamrock or amphora or indigenous motif they should be prepared to admit it's cultural significance.
  11. In an academic setting failure to properly document a source can also be proplematic. This is obviously not academia but it strikes me as more honest to acknowledge a source than call something generic. Even if it's just the recognition that a form or glaze or detail is inspired by a published base glaze or cultural artifact. This is a slippery slope but a respectful appreciation seems, at least to me, a better option.
  12. I chop waay more wood on peanut butter cookies. Oatmeal chocolate chip are ok too.
  13. In my experience clay bodies make a world of difference. I've seen porcelains/porcelaneous clays do well but the ones that stand out are the more dark, iron bearing clays. Soldate 60 is a good example. Some buff stonewares show up nicely as well. Flashing slips will help. Helmar or Gold Art type clays make a good start. Get involved early. Grab the ruler and help organise the pots - or show up late. Either way you will have more control over where your pots will sit. Keep an eye on the folks in the kiln - ask them if they want another shelf or maybe a cookie. It's going to be a long day. Have fun!
  14. The local clay was more a silt and good as a substitute for Barnard or Albany slip. We were never fortunate enough to find a throwing body other than a fun, earthenware experiment. Shale is another source for clay. It was more work but the road trips were fun and the work, for us, was worth the results.
  15. The use of natural clay embedded with coarse feldspar is also a signature of wood fired Shigaraki ware. There is evidence of Japanese Shigaraki kilns dating back to the 13th century. Shiro Otani
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