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tinbucket

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  1. @JDP I would argue that Goldart is not that important. It is just a plastic, buff stoneware clay. It is similar to a high iron ball clay with slightly less plasticity and larger particle size than ball clay. So you could sub ball clay or half ball clay/half kaolin. What clays do you have available to you? https://digitalfire.com/4sight/material/goldart_198.html
  2. You may find this helpful. Although it is for a different application (I think?) the material is basically the same as Keraflex. Someone at Alfred University did some research on "tape casting" which is basically a ceramic matrix spread into a thin sheet using glycerine and PVA (Elmers) glue. A thin, flexible, unfired sheet of clay. Although the set up is relatively simple I think it will require some research and testing - the only advantages I see over Keraflex being availability and cost (although time is money). Good luck! Very curious what you plan on making with it. https://sta
  3. One thing to note about colored slips - the more vitrified the slip is the more vibrant the color will be compare to a less vitreous slip with an equal percentage of stain. But the more vitreous your slip is the more problems you may encounter when matching shrinkage etc to your clay body. Green and blue are easy/cheap, I have used up to 20% stain to color a clay body. I would suggest doing a test of 5, 10, 15, and 20% stain additions to weight of dry material then narrowing it down from there. Red encapsulated stain is much more expensive and it might be wiser to use red underglaze instead of
  4. I have never used sodium silicate but when I use Darvan I have used 0.2% And 40% water, both of the weight of dry ingredients. That means I multiply the dry ingredients times .002 to get the amount of Darvan and .4 to get the amount of water. So for 10,000g of dry material I use 4000g water and 20g Darvan (add Darvan to water, mix well, then add dry material). This is just starting point and the day after I mix the slip I measure the specific gravity and observe the viscosity of the slip to see if it needs adjustment. It sounds like you slip could possibly be over-deflocculated. Another thing
  5. I agree with you that making a mold and slip casting would give you the most desirable result. Any other method will fall short of slip casting when it comes to uniformity and thinness imho. One thing to consider is the heat that can build up in an enclosed light fixture. If you use an incandescent bulb and don't have any venting it will get hot. Also since the form will be round on all sides and translucent porcelain is usually somewhat pyroplastic, you might consider making a cradle of sorts to support the piece in the firing (similar to th way bone china is fired). Best of luck. I hope you
  6. If you notice both examples of running/bleeding you posted are blue, most likely a cobalt (carbonate or oxide) wash rather than an underglaze. If you are after blue, I would use a cobalt wash rather than underglaze. Unless it is very thinly applied, cobalt will have a tendency to run or bleed.
  7. Brent is a relatively small American company. Their customer service is easy to reach and very helpful, they might be able to advise you on the repair
  8. I have experience with it, mostly bodies I mixed myself. The higher you go, the lower the absorption, the more brittle the clay becomes, and the closer to over firing you get. Cone 1 or 2 should be ok for most bodies, the only reason I would advise against it is if you dislike the brownish color that can come from firing higher. It's worth a shot and you really won't know if you like it until you try it. Another option which you may be aware of is to apply terra sig to the exposed clay of your pot (usually just the foot ring or bottom). This will drastically reduce the absorption rate of the e
  9. Another way to achieve the same thing as adding powdered clay (if you don't have any) is to evaporate some of the water from the deflocculated slip. A wide, low container will give more surface area to evaporate the water and achieve the desired consistency.
  10. I believe what you are seeing is the grog/sand in the clay. If you look in the lower left of the tile you can see bubbles where the glaze has dripped/pooled. Yes, I agree, thinner mixing and application is better.
  11. https://glazy.org/recipes/20547 Try this glaze. Derek Au has tested it on a brown stoneware and there is a picture in the link. He has tested many cone 6 clears and most of them cloud on a dark body. The determining factor from my point of view seems to be the boron level. This glaze has 2x the amount of boron necessary for cone 6, which will diminish the glaze's durability long term. If you want to see the other glazes he has posted click on his name, his tests are a great resource for us all.
  12. Derek Au and Jake Corboy have tested an extensive number of stains in glaze and clay. The base chemistry can affect the color of certain stains (glazes with magnesium can turn chrome/tin [maroon to pink] stains grey) but this should give you a general idea. Scroll to the bottom of the page to see the different stains. These are all cone 6 oxidation. https://glazy.org/recipes/34778 https://glazy.org/recipes/18705 https://glazy.org/recipes/30094 Jake Corboy's website https://www.jakecorboy.com/all-testing-info This is an excellent matte glaze and there are a number
  13. I have also read that in Andrew Martin's book and I have had great experience using Grolleg in casting slip. Another thing to consider is that Grolleg has some potassium (flux) and EPK does not. EPK will require more added flux to reach the same level of vitrification for an equal amount of Grolleg. Not sure if I read this on digitalfire or Martin's book but this way to mix casting slip works well for me: mix your slip, let it sit overnight, measure specific gravity, add water to reach target specific gravity, then add deflocculant to adjust the fluidity of the slip.
  14. You might try contacting potter Samuel Johnson. He had one listed on instagram a while back. His instagram is @samueljohnsonpottery and his website is samuel-johnson.com. Another person to ask is Adam Field.
  15. How are you mixing your clay? Something that has not been mention is that commercial clays are typically pugged in a de-airing pugmill. This alone makes the plastic clay much more dense than if it was mixed to a plastic consistency from dry materials (Soldner mixer). Mixing clay in a slurry and drying out will produced a more thoroughly wetted and denser clay body but it is much more work. If you are mixing in a Soldner style mixer there will be a lot of tiny air pockets in your clay. I have not read this anywhere but I have noticed it from my own experience...maybe others can confirm or den
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