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Fred Sweet

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Everything posted by Fred Sweet

  1. Lorna- Just brush off the grog onto s piece off newspaper and put into a container. Yes, reuse it for subsequent firings. I keep the container in the kiln room and don’t use it when mixing/recycling clay, since it’s relatively inexpensive. Regards, Fred
  2. Tom- Don’t over think your connectors. Piece of steel pipe (ID to fit your rod) cut into sections and welded to your angle iron. Regards, Fred
  3. Rockhopper- Here’s how mesh size is measured: Mesh (Mesh Count) — first, measure 1″ (from center to wire to center of wire), then count the number of openings in that 1″ span. This number is your mesh, or mesh count. 80 mesh is sufficient for most wet glaze sieving after mixing and prior to application. Hope this helps. Regards, Fred
  4. Joanne- I’m wondering whether this is a metallic luster at all. Most of the comments to date have overlooked the final words of your query: “......gold antique etch.” I believe that this solution may be for achieving an antique looking patina on the liquid gold after firing the luster by “etching” the surface. Try sending a personal message to Paul Lewing ( he’s a member here in the forum), as he is an expert on China paints and overglazes. If he doesn’t know directly, he has many contacts within the China painting community who were active 40+ years ago and may have had experience with this material. It is okay to tell him that I referred you to him. Regards, Fred
  5. Karen- Sounds like you are describing “Cuerda Seca”. Try doing a search from the main page. Regards, Fred
  6. Cynthia- You might try contacting Paragon directly at https://www.paragonkilns.com/pages/contact-us?gclid=CjwKCAiAnfjyBRBxEiwA-EECLPDEYxscuyl_k3QQndAeM6Oferfl0zVxtusQC-brQt7Ct0gO2huANhoCbj0QAvD_BwEor use their support page which contains most of the manuals for the kilns they manufactured. Regards, Fred
  7. BVS- Do a personal message to Paul Lewing here in the forum. He’s the author of the book China Paint and Overglaze. He has also done extensive painting with glazes at cone 6. Regards, Fred
  8. Tim- if Bill’s diagram doesn’t suit your needs, you may want to talk with the folks at Paragon Industries, Mesquite TX. Here’s a like to get in touch with them. https://www.paragonweb.com/Kiln_Guru.cfm Regards, Fred
  9. Tim- Try this: https://www.paragonweb.com/files/wiringdiagrams/W EA & DA 1029-2,4 Control Panel.pdf May be what you are looking for. Regards, Fred
  10. Sabbir- Looks like an iron oxide wash on a cream/tan clay body. Iron oxide and water (can add a little flux if needed), put on bisqued surface and wiped back with damp sponge. Leaves deposit in the texture and takes it off the high points. Doesn’t look like a glaze has been put on over the wash. Fired to mid-fire temps. Oxidation will give you a lighter highlight, whereas reduction will darken them. Experience/experimentation will tell you how much to wipe back and how to eliminate streaks. Hope this helps. Regards, Fred
  11. Here is the link to the replacement elements on the Paragon website. May not be the cheapest way to go. https://www.paragonweb.com/ELA66.cfm Regards, Fred
  12. Mudslinger- A few sites to look through which might give you the information you’re seeking. https://www.unifrax.com/product-category/papers-and-felts/?productcategory=235 https://www.gltproducts.com/products/ceramic-fiber-papers-20189 https://www.ceramaterials.com/ceramic-fiber-paper/ https://ceramicfiber.com/ceramic-fiber-paper/ https://www.armilcfs.com/blog/ceramic-fiber-paper-info/ Regards- Fred
  13. Sue- Are you releasing the slab from both sides of the canvas and creating a new “ramp” on the leading edge before adding a new shim? Sounds as if the clay can’t expand between the two layers of canvas due to it’s being stuck to one or both surfaces. Regards, Fred
  14. DB- Go to the Giffen store directly to get replacement pads: http://www.giffingrip.com/products Or go to their contact page and get more information: http://www.giffingrip.com/contact Regards, Fred
  15. Liam- Usually sodium or potassium, though other flux materials can also cause the halo. Regards, Fred
  16. Russ- Don’ t forget about the thickness of the clay used. The way you are suggesting doesn’t allow for it and, if made that way, won’t allow the form to be flipped without marking or distorting the clay form. Regards, Fred
  17. Cole- If I’m reading Nerd’s reply correctly, it is the casting and time in the molds that is temperature sensitive, not the drying time. I suspect that he may chime in with clarification. Regards, Fred
  18. You are probably good to put it through a bisque again. Does your sitter have a timer? If so, you might not have had enough time on it. Elements should be checked anyway. Regards, Fred
  19. All- Please note that a P100 respirator is a particulate filter for dusts. What is needed is an organic vapor filter. Two distinct filters removing different things. They are often found in combination, but one does not replace the other. Regards, Fred
  20. Dille- In agreement with the site to which Hulk refers. However your location will/can be a determining factor as to whether frost resistance and water absorption are issues. Regards, Fred
  21. Chilly- Don’t know why the search field doesn’t show up on your browser. My phone and computer both have a large “search for items or shops” field with a magnifying glass right at the top. Not saying that it works well, but it’s available on my devices. Regards, Fred
  22. Min- The link for the pdf from Frank Gaydos doesn’t work. Is something missing? Edit: never mind. My problem. I copied too much information because I didn’t see the hot link on my phone. Apologies to all. Regards, Fred
  23. Elliot- Which specific kiln model do you have? Knowing this may be helpful in responding to your questions. Regards, Fred
  24. Paul- You shouldn’t have any problems at bisque temperatures. You may experience issues closer to your final temperatures since the body fluxes start the vitrification process. Regards, Fred
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