PeterH
-
Posts
1,493 -
Joined
-
Last visited
Content Type
Profiles
Forums
Gallery
Posts posted by PeterH
-
-
On 8/1/2021 at 9:23 AM, PeterH said:
I'm being very careful to say as little as possible, in order not to mislead you. I'm just indicating further research might be worthwhile.
If the transfer paper was much cheaper, I'd suggest doing a trial transfer with it to see how "archival" the the fused image is. [But I believe that not all toners contain iron.]
If it turned out well it's likely a proof-of-concept that a refractory powder can be fused onto glass, with the burn-out of a carrier (plastic in the case of toner?).
This suggests a variety of ways iron-oxide can be applied to a ceramic glaze. Presumably the same methods would also work on glass.
DIY Ceramic Decals From Your Laser Printer (Update: and Magnetic Tape)
https://www.instructables.com/DIY-Ceramic-Decals-From-Your-Laser-Printer/... including
To get the printed image to the ceramic glaze, you can simply glue the paper on the ceramic piece ...This might enable you to test the result for its archival qualities. Before investigating alternative photographic processes to apply the iron-oxide.
-
6 hours ago, blackthorn said:
... Now it's such a thin coat of gelatin that during firing, as it melts, the actual image suffers minimal distortion. ...
I've no idea if hardened (cross-linked?) gelatin melts. If it does it might be worth trying the gum arabic form the gum-dichromate process instead.
PS
AFAIK the admittedly small quantities of gum arabic historically used as a glaze additive burnt-out cleanly. Use of gum arabic has largely been replaced by the use of CMC (carboxy-methyl cellulose), but I've no idea if this can be used in the gum-dichromate process. -
oops, finger trouble
-
8 hours ago, jsmoove said:
@PeterHI wonder what exactly the product is made of? Is it cellulose that is left on the glass? I have seen this before, but I had assumed you could only use your printer...I'm after curved, (application would be curved glass objects that aren't necessarily cylindrical) and would like to use something photosensitive, to get as high of a resolution as possible. So you're saying to use the fusing paper to transfer the emulsion to the glass?
I'm being very careful to say as little as possible, in order not to mislead you. I'm just indicating further research might be worthwhile.
If the transfer paper was much cheaper, I'd suggest doing a trial transfer with it to see how "archival" the the fused image is. [But I believe that not all toners contain iron.]
If it turned out well it's likely a proof-of-concept that a refractory powder can be fused onto glass, with the burn-out of a carrier (plastic in the case of toner?).
-
29 minutes ago, jsmoove said:
... The thing is, yes, I'm wanting to do it on glass specifically ....
Can I point you to this advert https://tinyurl.com/t53rvyfn
Not because I think you will be directly interested in the product, but because it implies that you can [to some extent] fuse iron-oxide to [flat] glass at ~680-800°. And then slump the glass or make multi-layer sandwiches if you wish. @Callie Beller Diesel Does that sound plausible?
If it works as advertised it might try fusing with a gum bichromate image rather than printed decals, and perhaps Mason stains rather than iron oxide (esp. those with spinel structure?).
-
31 minutes ago, Lee860 said:
This manual isn’t available. Can it be emailed to me? Please and thanks
I just tried and the manual is at the link @JohnnyKprovided, suggest you try again with
https://community.ceramicartsdaily.org/applications/core/interface/file/attachment.php?id=14499 -
-
Making a photosensitive powder
in Clay and Glaze Chemistry
Posted · Edited by PeterH
ps
I cannot think of any reason why iron oxide cannot be used as the "pigment" in gum-dichromatic style processes. Or any other photographic process with a wash-away binder carrying a pigment. Wouldn't keep banging on about it otherwise.
[Or ceramic stains with or without a binder; eg frit or "Gerstley borate"].
PS
Just trying to make the point that if you are using a photographic process involving a pigment and wash-away binder you can to some extent decouple your experiments on pigment-selection and photographic delivery.
... of course if your pigment need to be fired it's an open question how well any pigment will adhere to a 3D shape during the firing process. (I doubt that you will find a heat-tolerant adhesive.)