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Everything posted by liambesaw

  1. These companies either use pad stamping (look it up on YouTube) or water slide decals.
  2. I believe this is the product you're referring to: https://www.abrasivosaguila.com/en/products/products/chemicals/liquid-crystallizers/ And appears to be sodium silicate also known as "water glass". Its main industrial use is for sealing concrete, which aligns with what this product claims in both appearance and application.
  3. I'm pretty sure it's darvan, I don't know any other pink deflocculants. I didn't see the pictures before, but that looks soapy, so maybe soda ash? Any of them will work, darvan, soda ash, sodium silicate
  4. Darvan is pinkish? You're looking for a deflocculant. Common deflocculants are darvan, sodium silicate and soda ash
  5. Depends on how heavy the beads are. I'd say 5 inches is too long for 17 gauge. That's only 1mm thick.
  6. It'll get bigger in the glaze firing from my experience.
  7. I've never had mold issues with clay, it's more bacteria than mold. Anaerobic bacteria sets up shop in my throwing water and reeks to high heaven. You'll have to just give it a try and find out how sensitive you are to whatever mold or bacteria is in your studio. You can't get around it by spraying everything with h2o2, it's just not feasible.
  8. Lol absolutely! Much better qualities than the silver tin eutectic
  9. Yeah, so eutectics are like any other flux, in that they melt at a specific temperature. It's two oxides that have a higher melting temperature than their combination. It's really wild stuff to get into, and really only important to severe nerds. For the rest of us we have stiff glazes and melty glazes and we let the chemistry work itself out. Great to understand that say the combination of oxide A and oxide B melt at a lower temperature, but it's all part of a soup that kind of throws everything into chaos. I find it interesting, but beyond that, I try to stick with what works.
  10. Line 23 of index.html says (from the right I think) heat, cool, air, hazard, door. I'm on my phone so I can't grep the files for the term hazard, which would be the best way to find how the icons turn on and off.
  11. What specifically? It's all dynamic so it's not as simple as looking at the html. The values are populated by the program. The html is in /public and the javascript is in /public/assets/js and the python code is scattered about. You can search for the symbols you want in the files to see where they're stored.
  12. Hahaha, man was I wrong about eutectics. There are a bunch of them in glazes. That really throws a wrench into calculating melting points: https://digitalfire.com/material/eutectics
  13. You could look up the melting point of each ingredient and average them based on melting point and weight. I dont think there are any common eutectic compositions in common glaze materials, so that should work handily.
  14. The problem with glue on ceramics is that both glue and ceramic expand and shrink slightly with temperature, so over time they will separate eventually. The best option I've seen is to integrate standoffs and holes in the back of the design. So on a wall plate a few holes in the foot ring so you can string a loop of wire through it. I know it's a bit late now, but any way you can figure out mechanical retention would be best, instead of relying on chemical retention. That said, plenty of adhesives out there that will last years. If it were my personal project and it was too late for mechanical retention, I would use adhesive silicone (aquarium silicone) because it allows for thermal expansion since it is flexible, but has very strong adhesion to glass and ceramic.
  15. Boron content for low and mid range, but it's not simple because boron doesn't melt alumina. I think it depends on the si:al ratio and boron content. And even then it's an estimation depending on other refractory ingredients. I could be wrong but that's what I've seen.
  16. Depending on how old it is, it could just be a jumper on the controller. Worst case scenario you'll need to buy a new cord, and controller which is extremely pricy if you get it from brent. If you're comfortable with electronics you can just hack a new kb electronics controller into it.
  17. If you can fire them on their back you won't need any sort of armature. I'd use a grogged clay to help combat slumping in the kiln
  18. I tried heavy gauge (10 gauge) nichrome in a piece and it just broke in the glaze firing, although it appeared to make it fine through bisque. Smaller nichrome wire was fine (20 gauge), but it offered no support.
  19. The copper red is from a lack of oxygen, meaning when you cover it, you should not let it breathe.
  20. Definitely sounds like you've got some copper flavored mugs. Copper is pretty foul tasting.
  21. Do all your finish work with a sponge when it's leather hard
  22. Yep that's a typical wash recipe! The wash above looks like it could be manganese, iron, or a mixture of the two
  23. I've done my share of both and they have their own ups and downs. I find gas firing more enjoyable because I like to tinker and feel like I'm more responsible for the outcome. But when I've got things to do, it's really nice to set it and forget it with my electric kilns. As far as the outcome of either.. I mean I don't think there's a huge difference personally. Yes, reduction firing can be used to get some great/different colors, but so can electric, and I can make things look fuel fired in an electric, so it's not a big selling point for me. Gas firing was more expensive in both energy and time for me, which is why I eventually got away from it, and by using a spray gun and unique glaze combinations I have been able to achieve the same look and feel, so I'm exclusively electric now. Electric is far easier for me.
  24. I have the TA metalworks one too, it works great! He's also really flexible in the dies that come with it, if you want different ones.
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