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andros

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About andros

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  • Birthday 12/09/1984

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    Trieste, Italy

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  1. Thanks Min! I've seen those recipes before and they were actually the ones that gave me the idea of using Ball Clay. I just wasn't sure about the firing range ...
  2. Just wondering if a terra sigillata made complitely with ball clay (or made partly with ball clay and partly with white earthenware clay) could be suitable for a cone 06-07 firing. I'm attracted by the fineness of the particles of ball clay, in order to obtain more terra sigillata in proportion to the clay used, but I'm afraid it requires firing at higher temperatures .... Does anyone have any idea?
  3. Glass makers are banned because engineering ceramics must be complitelly cristalline. Glass phase is amorpous and embrittles them. Electrical characteristincs of some ceramics need a crystalline stucture as well. At the same time glass phase is relatively low melting and some engineering ceramics must face very high temperatures during service. For this reason sintering is almost always "dry" and made at very high temperatures. I know that there's some exception, but this is the guideline... Thank you Peter, I'll take a look for sure! In the meanwhile I've ordered the Potter’s
  4. Just a question about Potter’s Dictionary by Hamer and Hamer. Used copies purchased in US are more cheap than a new copy bought on Amazon, even with the shipping cost to Italy. But the new copy (6th edition, 2015) doesn't cost that much more to me. Does it worth paying more for a newer copy or could the 1993 edition be just as good?
  5. Thank you all for your suggestions! For me actually even the “technical” and theoric aspect of glazes would be very intersting. I’m a material engineer and I attended some course of adavanced ceramics during univerity, and they were definitely interesting. Unfortunatelly (and obviously) these courses had a complitely different point point of view, and materials as well were different in some extent, because for example fluxes and glass formers are complitelly banned in engineering ceramcis. So about “artistic” cermaics I’m almost complitelly illiterate. I know that experimentation is the
  6. Thank you Liam, I'm going to visit that site for sure! Actually I can only do firings for earthenware at cone 06-07 with electric kiln and raku firings in a home-made raku kiln.
  7. Does anybody have a good real technical book about glazes to suggest? Possibly available online… I would like to start making my own glazes. As an hobbist I always used only commercial available glazes, but now I found a couple of good source of a quite big range of raw materials for potters where I can get low quantities at a resonable price. The fact, however, is that I don’t see a big difference between using commercial ready-to-use glazes and slavishly follow a recipe suggested by others… not to mention that often commercial glazes give better results and are more reliable than
  8. Hello! Recently I managed to turn commercial powder underglazes into liquid “brushable” underglazes. I used commercial powder underglazes used for italian traditional majolica (so they are used as watercolors, basically) and mixed them with CMC for “brushability” and bentonite to harden the unfired surface. Basically powder underglazes have (or should have…) all the dry components, and it’s sufficient to add something to improve consistency. I applied them on already bisquited pieces, under an alcaline clear glaze. The results have been very good for all the colours but something wen
  9. That colours are pawder underglazes\overglazes intended for majolica, and are basically like "US style" underglazes but wirhiut hardening (and I mean hardness in the not fired stage) and suspending\brushability agents, since they are used as "watercolors". There's no mention of stains the Colorobbia catalog. The only mention of stains in the Colorobbia website is here: http://www.colorobbiaitalia.it/lang1/prodotti_colorobbia_italia.html This is a section intended for industries. No catalog nor detailed information unless explicitly requested to the sales department, who tak
  10. I'm asking a datasheet to the reseller. He don't indicate online the brand \ name of the stains he sells, but I think they are produced by Colorobbia (the main italian glazes\stain\clay producer) which does not gives any detailed information online about stains since here in Italy stains are still intended almost only for industrial use. Only in the last 2-3 years I started to see stains in the resellers catalogs (for hobbyists\small craftsmans use), but with very limited informations ... as soon as I have some info I will share them. For now thank you for your precious support !!
  11. I'm not sure to understand what do you mean, sorry... I mix the stains to many pieces of "fresh" clay, then I put them together in some way to create the colored pattern. Before applying the glaze I make a first bisque firing, then I apply the clear glaze and fire a second time. Both firings are made to the same temperature: 980°C (1800°F). The bisque don't shows anything strange , but it's hard to say, because the body is already colored and I don't have any reference to judge if something should be different. What is sure is that if I remove the unfired glaze, I see that the white parts
  12. Unfortunately I've limited possibility to change firing temperature. Since I don't have my kiln I must rely on shops that fire my stuff for me, and they use standard authomatic firing programs, probably already preset by the manufacturer. These programs works good for "traditional" earthenware and glazes, but I can't experience anything different.. I'm looking for little more experienced craftsmen here in my city to ask about the possibility to use of their kiln, but until then I think I will have no choice but to exclude some stains... I was just wondering the possible cause.
  13. Here I have an unfired piece (neglect the poor glazed surface, I'm going to repeat the glazing...) and a fired test piece. In the fired piece the yellow colour is mostly visible in the corners, that should have been white with litle green "veins". In the unfired piece the colour is visible a little everywhere...
  14. Recently I’ve made some nerikomi earthenware pieces using various stains, but I have an annoing issue when applying the clear glaze, that is some colours passes a light yellow colour to the glaze. The unfired glaze takes from the bisque body a little yellowish “halo” that remains visible also after firing. This happen with the yellow stain (obviously…) but also with the black (surprisingly). Being in Italy I don’t use Mason Stains, but they are stains, and this issue is pretty strange… How can a fired body pass it’s colour to the glaze? May do this due to the fact that earthenware is fired to
  15. Tahk you Johnny. Anyway I think that the problem is that the firing has been too fast. I was concerned because at the shop I asked for a canister of propane (because I heard that it has a better calorific value) but reading the canister tag once at home I noticed it was LNG, so I opened at the maximum the canister (and torch) valve, but evidently my kiln is so small that even the LNG was not only enough, but I have to be careful not to overdo it ..
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