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Fred Sweet

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Everything posted by Fred Sweet

  1. I just sent a pm to Neil asking if there was a way to do that and maybe put it and similar things in s “pinned folder” within the forum. In the mean time, was it something that there was a link to, in which case can you post the link? Fred
  2. MPF- Do you mind sharing that pdf? Others might be interested. If you do share it, my thanks! Regards, Fred
  3. mr.cyclopede- You May want to do a little research on changing orifice sizes at Ward Burner Systems. Mark Ward has a copies of articles he has written on his website. Of particular interest to you might be the following: http://www.wardburner.com/orificesmessing.html He also has an orifice chart and replacement orifices available at: http://www.wardburner.com/otherproducts/orificechartsplugs.html If you would like to contact him directly to find out whether he can confirm the suitability for Scandinavia kilns, use the following: info@wardburner.com Hope this may be helpful to you. Regards, Fred
  4. Cactus- I’m wondering if some of the body fluxes in your clays are soluble enough, that when you rehydrate your scraps, they are attacking the plaster of your bats and thereby causing the difficulty in removing your “reclaim” pieces. It’s something that happens occasionally with casting slips. Mark C might be one to address this issue since he has more experience with casting than I. Regards, Fred
  5. ladyinblack- Square brass tubing can be found down to 1/16”. If you can’t get it locally, it’s available through EBay or Amazon. oldlady meant that if you cut the next size smaller, say 3” long, then you would cut the larger tube at say 2 1/2”, so the smaller tube will pass through the larger without getting stuck inside the larger size tube. Regards, Fred
  6. MFP- Still thinking about what you said in your recent post, where you said: ”Thanks Fred! ….… My Ohata Red recipe was from 1973. I still have some of the Ohata---looks like I used about all my five gallon bucket.....even though it is dried out now, probably only a gallon left. It was the one iron glaze I could identify because of the 10% iron and the grittiness....I actually found a glazed unfired pot that has weathered all the moves all these years! Glazed withOhata. “ I think you may have a more accurate test for the material that might be bone ash. If you have access to a cone 10 firing, you could mix up your recipe with the unknown in place of the bone ash apply it to a test piece and fire it next to the unfired piece and another test piece with your left over Ohata glaze. Even if some of the other materials have changed, you should have some real comparisons after firing the. Just a thought. Regards, Fred
  7. Min- Thanks for finding the images! Looking at them, the most obvious thing is the bulge at the top of the front leg on the Max wheel! Looks a lot like the one in Ocarina’s photo., even though it’s not a flat top wheel. Thinking we may have solved the question! Regards, Fred
  8. I’m wondering if it might be an old Alpine wheel. They were available back in the 60’s and early 70’s. There are some pretty rough images in Google images when “Alpine potters wheel” is entered into the search. i can’t get to my old copies of Ceramics Monthly to find a cleaner image from one of their ads to compare it to the wheel your are looking at. Can someone help out here? Regards, Fred
  9. MFP- All the various recipes that I have for Ohata Reds contain bone ash in varying amounts. You may be looking at bone ash, as any carbonate effects would be gone since it is already a fired material. Even if it is synthetic bone ash (tricalcium phosphate) it shouldn’t have a reaction to acid since it is a salt (residue from the interaction of acid with base), though I would expect that to be much finer in texture. Hope this helps. Regards, Fred
  10. OEY3- Have you contacted the Petro Mold Company at either: phone 814)796-6635, or their webpage www.custommolds.net? Information from Classified Advertising in Ceramics Monthly Regards, Fred
  11. spotty- Do a search on “refractory paper “, and you will find several results. Thinnest I found was 1/8” thick x 24” wide x up to 50’ long. May be a little thick for your purpose. Expensive stuff and it becomes friable after firing. Regards, Fred
  12. Smalls- I’m not saying that this is THE answer, but I’ve experienced this problem on some of the wheels I have used in the past. For me, it was one of two problems: 1) a flat spot in the belts or 2) the seam where the belt was “welded” together. Some possible solutions: for flat spots, letting the wheel run for a while may allow the belt to warm up and swell back to its former shape. I have also taken the belts off and soaked them in very hot water for a while. Or if multiple belts, moving adjacent belts in opposite directions on the sheaves. for weld issues, letting it run or trying to sand out the bump on the inside of the belt. Replacing the belt(s) may be a solution of last resort and/or if a brand new wheel, a fix under warranty. Of course these only deal with belt issues and not bearing or pillow block problems. Regards, Fred
  13. Pres- Nope, not corrected. Still reads “hillisde” and not hillside. Respectfully submitted, Fred
  14. Jeff- Try bridging the lip of your piece with you left thumb and middle finger as it rotates. Place the pin tool on the upper side of your thumb and lightly touch the clay below the lip, stabilizing it and rotate your pin tool through the clay until it touches your middle finger. Allow the form to make a couple of revolutions before lifting your hand, pin tool and ring of clay away from the spinning piece. It has worked for a couple of my former students who were visually impaired; one of whom was totally blind. Might give you a bit more confidence and control feeling the clay slide between your fingers. Regards, Fred
  15. Cynthia- As per Neil’s suggestion, check the Mason chart. Direct link is: http://www.masoncolor.com/reference-guide Pay attention to the note section, it will give you a lot of information regarding glaze composition and firing/atmosphere limits. Regards, Fred
  16. oldlady- The address above isn’t a hyperlink, which would take you to their site. Just do a copy and paste into a browser window. Regards, Fred
  17. Neil- It is not just the fact that clay particles get into the threads of a tapped aluminum wheel head, although that is a contributing factor. There is also galvanic corrosion occurring, where two dissimilar metals oxidize at an accelerated rate in the presence of water. Regards, Fred
  18. Also, I don’t recommend using your showe to clean your mats. Take them outside and spray them down with a hose. Less chance of clogging your household plumbing. Regards, Fred
  19. Google isn’t always your friend. Can be a little too distant from the source. Note that I didn’t follow those leads all the way back through the Digital Fire site. The starting page for Frits is: https://digitalfire.com/4sight/material/x.html Most, if not all, have hot links which should get you to more information, including some potential substitutes. Regards, Fred
  20. Doing a quick search in the Digital Fire website under Materials/Frits yields the following (note: other than the Ferro Frit, the May be comment is the closest I could find): 3292- Ferro Frit 3292 This is a USA pottery frit, Ferro now calls it Frit 3292-2. Useful addition to first fire sanitary ware. Balanced, can make up the bulk of a recipe. Out Bound Links. 71- May be Hommel Frit 71, a leaded frit. 550- May be Hommel Frit 550, a leadless calcium borax frit. 740- May be Pemco Frit Pb-740, a leaded frit, a high zinc frit for matte glazed cone 06-4. 76- May be Fusion Frit F-76, a leadless frit. Regards, Fred
  21. Another case of reaping/plundering intellectual property without paying?
  22. Mark- Did you sign a release form for the photo(s)? If not, you definitely have justification to ask for an honorarium of some type. Regards, Fred
  23. Nicky- I’m not understanding something in your statement above. You say you weighed 20% slip. 20% of what? Usually, your dried out slip should equal 100% of your recipe, and to that you would add 5% stain. For example, if you have 200 grams of dried slip, you would then add 10 grams of stain (5% of the base) to it, mix it up with water and test. The next increment that Neil suggested was (10% of base) or 20 grams to the 200 grams of dried slip. And on until you reach your target color. Regards, Fred
  24. Mitzu- You might be able to achieve a little less gloss in your glaze with a slower cool down. Slowing the temperature descent may give time for crystals to develop, resulting in a more matt surface. The color in your second photo seems a little more intense than that in your first one. Try a progressive line blend from 0.25 - 1.0% of the “pigment” in your base glaze, to narrow in on your target result. Regards, Fred
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