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thiamant

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About thiamant

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  1. Have you tried adding 1% RIO to obtain a hint of red/brownish color on the edges?
  2. We could also talk about the presence of heavy metals in fish like salmon, tuna, etc ...
  3. From the document: Copper toxicity comes from chronic exposure to copper. Under normal conditions, the body and process and expel copper, but excess exposure over a period of time will result in decreased liver function and possible eventual Hepatitis. The Center for Disease Control has documented that that the limit for copper toxicity is 550mg of copper per kilogram of body weight per dayviii. This translates to a 150lb (68kg) person, being able to consume up to 35,750 mg of copper per day, without suffering chronic effects. It is important to place these values in context of pottery ex
  4. Hi potters! What do you think about using copper saturate glazes (say 5%) or barium in glazes that will just be used for teacups, teapots, etc? Since there are no acidic foods in contact and no dishwasher what confidence might we have that the glazes wont leach toxic substances? What about using them just on the outside?
  5. The reason why I wedge the clay straight out is because when throwing off the hump I need a big cone shaped ball of clay. So I wedge it a little bit to shape it from rectangular to cone shape using spiral wedging. However considering it was probably on the dry side from the bag maybe I shouldve done it on wood instead of plaster. It didnt look that dry to me but porcelain is a new thing to me so...
  6. I see. The stickiness problem is also a plasticity issue?
  7. I have tried throwing porcelain other times, but not much. Recently I purchased a new batch and oof it was terrible. Fresh out of the bag and it was already cracking when trying to wedge... (Humidity looked ok) I tried to throw a couple of bowls off the hump, impossible. Once the bowl is finished I cut the bottom as usual. The clay sticks like hell and cannot be removed without deforming the bowl... Even if I let a generous amount of clay at the bottom (usually thats what I do to avoid problems when retrieving the finished piece from the hump). I dont know if these problems are rel
  8. You are absolutely right, however my electric kiln might suffer a bit so I dont want to push it too hard. Just to extend its life as much as possible. If I was only considering the clay I would go all the way for sure, its also more convenient to have faster firings...
  9. Up to 10 hours would be fine I guess, Maybe that midfire segment is a bit too fast? What about this? 100C/h to 200c (~2h) 200C/h to 1160 C/h 60 C /h to 1260 C /h 30 min hold at 1260 STEP down to 1160 20 min hold at 1160 total time ~9h
  10. I see. I'm trying to design a new firing schedule, but I have to speed up the firing at some point because otherwise the total time will exceed 11 hours and I think it was already too much...
  11. Ok, can you guys help me adjusting the firing schedule to incorporate this drop and soak idea? Should I reduce the speed in the last segment?
  12. A couple of reasons. It helps me ensure that the top temperature reaches all the pieces in the kiln. I get 0.5 cone almost cone 10 without having to push to the 1280C range. And also I heard it helps healing pinholes.
  13. Actually I am the one who posted this. A friend gave me the recipe and I uploaded it to check stull chart etc. This is supposed to be a 1260C glaze.
  14. Tbh I dont even know why there is so much barium in this glaze. By the way, the temmoku is Leach 4321 with 10% RIO. Such a shame, it looked so good on this test tile.
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