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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. oldlady, you are right, English is not my first language. Anyway I think to have understood enugh since all your explaination are verly clear. The real obstacle to my understanding usually is not the language but my inexperience! Really thank you!
  2. Sorry, just another thing... but, if wax resist is applied before glazing, why alumina is needed? Does is not enough a simple wax resist?
  3. Good morning Let me please resume this discussion because I'm going just in these days to fire for the first time a fitted lid. I've already read in the past about the use of wax resist with alumina for firing a fitted lids but, since I've never done it and I almost never used wax resist It's not still really clear how actually It should be done... that is: does the resist must be applied on the contact area before applying the glaze (in order to prevent the glaze from going on that area) or does the wax resist could be applied on the contact area after the whole surface has been glazed (by immersion, for example) in order to prevent the glazed contact areas to stick together ?
  4. Just now I had occasion to see the video... very surprised to see the Spilimbergo mosaics school! It's in my region and I know a couple people that attended it... excellent school!!
  5. I think that the best thing to do is to ask to an experienced bricklayer or a tiler insted of potters! Since the thickness needs to be evened out with cement you need someone who knows his stuff ... I would not dare to do it by myself!
  6. Finally I've done it! I have applied a couple of your suggestions: thinner glaze layers, no sanding, clean with water and soap (not only water) and work with gloves. And finally I've succeeded in obtain a decent result! (neglect the one on left-bottom, it's a failed test with underglazes...) Thank you again for your suggestions!
  7. If, as I belive, CMC is the acronym of Carboxymethyl cellulose, then it is available in any... shop specialized in supplies for pastry! I have already used it for some glazes, but the first time I bought it to make sugar paste icing for a cake... If I have understood something I'm going to add both CMC and a little bit of bentonite (no way to get VeeGum-T ) as a surface hardener (to allow to put more layers without the one below is spoiled). Thank for the tips!
  8. I have underglazes. At a first I got confused because of the deeply different approach to undergalzes between Italy and US. I never thought that they could be used in any other way but as watercolors, and seeing how it was used many times in the US I thought that they must be two different things, but actually they are not! The only difference is that italian uderglazes are not intended to be used in "the pure form" but only very thinned, as watercolors, so they are in the form of powder (and therefore it does not have any type of thickener or suspending agent) or in the liquid form, but with the wording : "concentrated color, to be thinned with water before use", so they probably have only suspending agent, but nothing that helps brushability or to harden the surface. The main Italian supplier is Colorobbia: http://www.colorobbiart.it/catalogue/?lang=en
  9. I think that this is what I'm looking for! Actually I don't know the exact composition of my commercial powder underglazes but I think that it doesn't differ a lot from an US underglaze... Unfortuatelly I'm not able to find it in my region... VeeGum-T appears to be a commercial name for smectite clay, that is a very generic name that comprises many different clays... Could bentonite act at the same way?
  10. Some days ago I noticed to have in my my inventory some Duncan underglazes... I had not used them for so long time that I forgot to have them! I have always used them very diluted as watercolors. With them I made some tests and actually I noticed that they are different from italian underglazes not for the composition of the color itself but just because they (duncan) are problably added with some sort of gum to meke them "brushable" and to form a compact layer. I tried also some italian liquid underglazes and although they don't form a compact layer like Duncan underglazes, it's still feasible to use them like "US underglazes", the only problem is that they are sold in very very small jars (less than 1oz) and to use them in the "pure form" make them definitely not cost effective... In my inventory I have also many jars full of powder undergalzes. I tried to use them to make solid layers but is unuseful to say that is not possible because once dried they return to be powdery and is not possibile to make multiple layers. Does anybody know what I can add to powder underglazes in order to make them brushable and to form a compact layer? Maybe some CMC or other? Of some colors I have some lbs (a lifetime supply if used as watercolors!) and I think it's worth trying to use them like "US underglazes".
  11. Thank you for the reply! In order to ensure enough air moving iside the tiny chamber do you think that some sort of chimney will help? I'm going to keep the control unit, not indeed to control the heating elements (that has already been cut off) but because I need the reading of pyrometer (that probably will be pretty out of calibration but I can compensate it with some try with cones) so I could do without the possibility of peeking through the chimneyf... And anyway i could do some sort of peephole... This is just a temporary solution anyway... In a (I hope not too far) future I will replace it with abigger ceramic fiber chamber... is someone albe to figure out what is the maximum volume heatable with a weed burner with a nominal power of 80 KW (about 273.000 BTU?)
  12. Hi folks! I've just been given to me what I hoped to be my first own electric kiln. It's a very very small stackable top loading kiln. The chamber is more or less a cube with 12"\13" (32cm) side. Microscopic but mine! Unfortunately it doesn't work... () because it's not able to go above 1300F (700°C)... It's too a small and old kiln to spend money to replace the heating elements, even because the control unit is very "primitive" so I would have very small control on temperature rising velocity ecc.. Just to not toss everything, I thought to convert it in a updraft raku kiln. It's a lot of time I've planned to build one raku kiln and I think that this can be a good occasion since I can save the cost of the isolating blanket. I'm little scared that the kiln will be just too small to have an evengas heating but at that point the cost of a barrel and a ceramic fiber blaket will be not so high... I read a ton of threads here and elseware but just I couldn't find out an indication on what the diameter of inlet and oulet should be... I will use a weed burner with a torch diameter of 6cm so I thought to make both the inlet (in the bottom) and outlet (in the lid) of 8cm... I need to buy and use a hole saw (and I want to retain the "scrap") so I want to be pretty sure that I'm not going to enlarge it because are too small... I'm going to put a cordierite"flame spreader" 5cm high above the inlet hole. Somebody could give me some tip or tell me if this stuff will never work properly??
  13. Here I can see no clue... Corundum is just aluminum oxide "doped" with other elements that give its color (in the case of the involved stain appears to be manganese)... sometimes corundum crystalline lattice can be tensioned and cracks because of big doping elements (i.e. chromium in ruby, and this is why it's so rare to have big rubies) but this is likely to happen only in big mono-crystals, and in this case, In my opinion, there is no explaination in the composition of the stain. Some foreign element\agent should be involved...
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