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Fred Sweet

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Everything posted by Fred Sweet

  1. A lot will depend upon firing temp. Cone 10 is most effective due to larger glaze/body interface. Cone 6 is okay, but 06 I wouldn’t count on it working.
  2. Min- I think your *C and *F values are reversed in your chart. Regards, Fred
  3. A very generic user manual for FE kilns: https://3fs7rd1xi6sy2zofjv3g0a0q-wpengine.netdna-ssl.com/wp-content/uploads/FE-OPERATING-INSTRUCTIONS.pdf
  4. Mavenhawk- Contact Amaco/Brent technical support at: (800) 999-5456 with the serial number. They can tell you the model and age of the wheel. Bt the way, the splash pan is on correctly. You want the larger side facing you, otherwise it will slide back away from you as you lean on it. Regards, Fred
  5. Victoria- Sitter Kiln LT-3K is not the brand of kiln; it is the kiln sitter itself. Look for a metal plate affixed to the control panel or kiln, itself, for the brand of kiln And model number. Photos would help. Regards, Fred
  6. Jack- Also think about the possibility of the lateral forces reaming out the threaded holes, allowing the feet to break off/out and leaving plaster chips to contaminate your clay. Regards, Fred
  7. KDP- Have you consulted your owner’s manual? Seems that there is some information regarding the potentiometer part number and means of adjusting the speed of your wheel. the link to the owner’s manual is: https://www.speedballart.com/wp-content/uploads/2017/12/Boss-Manual-Final-Update-November-2017.pdf Regards, Fred
  8. Michaela- Actually the slim vials are China paints or enamel overglazes. There are a few different ways of working with them; either using oils or water as a medium. In your case, I would guess oils, since you have several glass plates with a dark residue. The glass is used to grind the pigments into the oil. Odds are that the colors are lead fluxed if they are over 10 years old. They fire in approximately the cone 014-016 range, and aren’t the most durable surface. They are what you find on painted China crockery. The gold or other metals are just what is discussed above, metallic luster
  9. I think that what Pres is saying is that the sliders are inside the lid flange. Pres?
  10. 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
  11. 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
  12. 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
  13. 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
  14. Karen- Sounds like you are describing “Cuerda Seca”. Try doing a search from the main page. Regards, Fred
  15. 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
  16. 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
  17. 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
  18. 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
  19. 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
  20. 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
  21. 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
  22. 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
  23. 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
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