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Brandon Franks

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  1. Thats what I guess for grabbing the cheapest one at Home Depot, I guess. Thanks for the info, that explains a lot. Thanks, Liam.
  2. I am not an electrician, but I know this is (probably) not how ohms are supposed to be read. Anyone know why I am not getting full numbers, I presume this is a reading of 26 ohms. Why would I be gettin 26 thousandth ohms? I see the *2k* marker, but I was told that wouldn't change the reading.
  3. I made a 3d model of a really simple and small planter, then cut the model in half. I can cast the bottom of the mold straight on MDF so its completely flat. Then put the whole model in and cast the top portion. Only bad part is I cant make circular keys that easy, I don't have the bit to do it. I just chiseled out some sloped lines that will work equally well. I designed this so the mold lines will line up with the pot lines - should be little to no clean up. (its not cleaned up yet, just de-molded it)
  4. Making slip. Already have darn and all the clay components. I have read up on the slip testing methods. Just rushed the first few pieces because I was eager.
  5. The molds are actually smooth, I think it's the clay that caused the bubbles. I think my clay had too much water in it, and it was drying uneven. Im about to pour new molds now, A different method and going to be way smoother. Ill take a picture and post them on here in about an hour. I am using my normal cone 6 body, just formulated with less Bentonite- only .5% instead of 4.5%. I tapped all the bubbles out pretty vigorously. I know for a fact one of the pure was a little late, but the others felt good to me.
  6. Brown glazes for cone 6 are mostly faux temmokus. Temmokus are very runny (My kiln shelves have found that out the hard way) However, a common misconception is that this glaze will be thicker than that of the bottom glaze, in your case that bottom glaze would be a white, which is most often not true. Let me explain a little more. When you layer 1,2,3, some even 4 glazes on the rim of the piece, all of the glaze will melt downward as they get to their respective peak temperatures. When these glazes melt, they do not stay in the same position as they were dipped (sort of), they begin to *mix together* (I say that lightly because it is sometimes not the case). Below is an image of a piece with commercial glazes, this is from last year, someone wanted a set in the color combo. The second picture, you can see what that layered glaze looked like pre-fired- Multiple rim dips. Because these all had a similar melting temp, they were able to form a heterozygous (as in, you can make out the colors still), yet smooth and glossy finish. The third is another example of rim layering, this being the same combination in my past reply. That picture I attached was a poor example of a more subtle mixture of layered glaze, but I assure you it is smooth to the touch. My best advice if you dislike testing glazes is to just buy commercial glazes. It is far from the best decision, but I understand why people do it, better consistency and easier (in the short term, that is.)
  7. Below are my first attempts. Came out better than I expected. My clay was not perfect yet, did not deflocculate it completely since there was a lot of water to being with, just wanted to try it out. Obviously, a bit rough. Nothing a little practice and a sponge cant fix, however. These were done with both 2 piece molds and three piece molds (respectively)
  8. How funny, was just watching one of his videos. Don't understand a word he's saying, but I feel like I am learning something.
  9. I ordered a book off amazon, coming tomorrow. I have done some online reading and watched every youtube video I could find. https://www.amazon.com/gp/product/1600590772/ref=ppx_yo_dt_b_asin_title_o04_s00?ie=UTF8&psc=1 What do you mean by using water to find the center? The black lines I marked out on this one are pretty close to center, I am hoping they are close enough. Im about 90% sure they are. These pics below are what I am currently designing. These are "Mother Molds" for a two part mold. I think this will be the easiest route, assuming they release from the plaster easily. The second one is the "female" piece of the mold, still being printed at the moment. About the multiple piece molds- I found this video and it seems fairly easy. https://www.youtube.com/watch?v=m4rDS5rBWb8&list=PLN1iBYK2Y2X_dpUZvWZlwk17XxBErWkpy&index=2&t=0s
  10. Are you trying to replicate the matte effect or the drippy effect (or both). Matte glazes are fairly easy to make, I think that first picture has two glazes, one along the rim, the other is covering the entire body. Try this recipe if you want a good matte-https://glazy.org/recipes/2419 A dip of a faux temmoku around the rim could give you a cool effect. Drippy glazes, such as the one in the last picture, are almost always achieved by putting two or more glazes on top of one another. I did a glaze combo a while ago, produced my favorite glaze results ever. Going to start doing it again now that I am firing back at cone 6. It is two glazes, both with high amounts of silica, on top of one another. Some glazes don't do this well, the base glaze is a faux temmoku, so the iron also helps with melting. You have to experiment with it.
  11. I sanded mine down, but have had some sticking issues in the past. I could probably coat the plastic in polyurethane too, that might help. I will try it without first. Worse comes to worse, I re-print and coat in something. What I am most concerned with is trying to get the piece in the exact middle of the slip form. I have had issues in my very limited past attempts where the center of the piece was 1 mm off and it would just rip the clay as I took it out of the mold. I am thinking about doing 5 piece forms, doing 4 pieces for the body and 1 piece for the foot, while that seems like the better option, I don't want to get way over my head. I think the 2 piece forms will be better to learn and experiment with. This is super exciting for me, I have never been into this side of ceramics.
  12. Do you have any tips on getting the plaster to not stick to the 3d prints? The one other time I tried this, it was incredibly hard to pry the plaster from the print. I was just thinking about using mold soap as a barrier.
  13. Hey all, I really, really suck at making plaster molds. I have tried twice but messed up badly each time. However, I think I've got it down now, after doing a load of research and reading. Now for my question- The way I am going to be casting is using 3d printed plastic forms and cast them in plaster. I have seen other people do this (Kurt Hammerly is best known for it), however they use a silicon mold and then cast the cup from the silicone. Is there a reason why? I am using PETG which can handle temps of 200+Âșc. I figure the basic way of making slip casting molds, covering half in clay, pouring plaster, etc, (you know the drill), would be substantially easier than making another mold from silicon. Do people purely do the silicon so they can make a large number of molds? Attached are pictures of what will be my first 3D printed mold attempt. The black line is the middle mark, if you are wondering. Anyway, I will let you know how this goes later in the week. It's ironic because I always thought of slip casting as "Lazy Pottery," but I make so many test pieces now a days, (I prefer to test on cups and such rather than regular test pieces, it helps me vision the glazes better, especially crystalline), it is too time consuming to spend hours throwing "disposable" pieces.
  14. @ImogenBIf you use this you need a liner glaze. Sorry, I'm so used to using liners, I forgot to mention. Any clear cone 6-8 glaze would work. There are plenty in Britt's books.
  15. Here, I just came across this, looks nearly identical. I saw it and immediately thought of your posting. Give it a whirl and let us know how it comes out. https://glazy.org/recipes/2467 Also, You can probably squeeze this in a cone 8 load. If you want, I can make a test of it, Im getting rid of my last bit of HF clay, and don't have enough glaze for all the pieces
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