Sunday, December 20, 2009

Names Of Maxillary Extraction Forceps

► ► Engobes (1040 º)


I have asked several times and then decided to make a post about it, because nobody is born knowing and the first time in front of a ceramic kiln struck fear can cause us (me gave me). How to handle it, how things are, how to regulate and anxiety can play against us. This is just my personal experience, but I guess until you get hold of his hand to Hornitos, it can guide us.
First step: load the oven.


• By working with various pastas, not made to fit a class into another pasta made with other pulp, when they dilanten-contract with the heat if you are in more or expands outside contracts much , will crack the piece out.
If we work slips or oxides to be careful to place these separate pieces are highly vitrified slips ending and stick to other parts (by mistake in their formulation or excess glaze) and oxides that bubble is nice and know what parts contaminate surrounding it. (I missed something strange with cobalt, were my very blue patches plates ...).
• Place the pieces of well seasoned, if we have questions best left for the next batch. (In some bricks we did, one was completely twisted, for over a month that was drying up and decided to retrieve the dough, well, I hit him with a hammer to split and its interior was completely wet and almost soft, and it was a month that we were allowed to dry! well, a brick has a considerable thickness, but the story.)
Step: Turn the oven
d
From here will be about three hours to pay attention to the oven. One slip and the oven does not forgive.

Imagine the clock and divide it into quarters of an hour, so let's temper the oven, reaching the set temperature by turning the oven (if not automatic cutting) intermittently. This is what determines a good warm without breaking or bursting of parts. It is turn on my oven, I take it to 100 ° C and then wait an hour, no! We break it all! calm. I started with the oven door closed, there are many who prefer to leave a little bit ajar for steam to escape, but he said a manufacturer of furnaces with it all you got is to convection of air under the door cold air falls and hot air goes up, the pieces below are not tuned for this cold air intake, that when we close the door and continue with the spongy these pieces will hopefully be around for the 50 º C. There are conflicting opinions about it, so the resistance in electric furnaces but if the heaters are hot how can that hit him steam water? a truism, but everyone does it properly, door ajar, closed ...

Tempering: 1 st hour We started with the oven temperature, at 15 'reach 25 º C,
to 1 / 2 hour to reach 50 ° C
at 45' reach 75 º C
to reach 1st. hours at 100 º C.




At this time no
turn off the oven, keep the temperature and unclog the nozzles, we will see steam coming out, sometimes a lot: the humidity of the parts (although we assumed that they were dry) leave exit all, this will take several minutes. When we see that it will not leave steam (if we can not see to the mirror test, bringing a mirror to the nozzle and it is no longer tarnished.) enter and only then continue with the second hour of cooking.


Tempering: 2 nd time: now leave the jets uncovered
(must be left uncovered up to 700 º C, the vapor at about 300 ° C may go smoke mean that burn all organic compounds that may contain the mud) At the time, and 15 'reach 130 ° C, an hour and 1 / 2 reach 160 º C,
when 45' reach 190 º C
to reach the 2 nd hour to 220 º C.


Mild: 3 rd hour.

at 2 am and 15 'reach 250 º C,
at 2am. ½ to 280 º C,
at 2 hours and 45 minutes to reach 310 ° C and 3rd. hour to reach the 340 º C




Cooking proper, then:

From here continue cooking until the end of the biscuit. I keep a constant temperature rise of about 140-150 º C per hour. (Speaking of cake, because there are other glazes that need time to mature and fuse). There are many who say that a good biscuit is around 950 º C. I prefer to take up to 1040-1050 ° C. but to avoid those enamels which then cracked contraction. So I found him to turn down the enamel are not crackle with those who did not look and sound clink, clink, clink! for several days. (As yet making good use of glazes to correct the expansion-contraction may prefer to avoid anything that happens to me, but we went into another field.)

Notes:
during cooking if we have a power outage, reboot the temperature curve from the temperature at which it was cut.
If glaze, place cones, because the pyrometers are very nice, but after several baked these are input to mis and maybe we can have differences and then a glaze goes wrong because it did not reach the melting temperature. But how? If the pyrometer read both?? sometimes 10 ° C make the difference ....

And yes, baking is a plunger, more boring! ... especially if you are alone. To top do not you can go to sleep or go out there, because an accident with the oven, a power outage does not cut because the pyrometer is wrong ... well, let's find a mess or enamel pieces all crooked .
Patience, care and good cake!.

Names Of Maxillary Extraction Forceps

► ► Engobes (1040 º)


I have asked several times and then decided to make a post about it, because nobody is born knowing and the first time in front of a ceramic kiln struck fear can cause us (me gave me). How to handle it, how things are, how to regulate and anxiety can play against us. This is just my personal experience, but I guess until you get hold of his hand to Hornitos, it can guide us.
First step: load the oven.


• By working with various pastas, not made to fit a class into another pasta made with other pulp, when they dilanten-contract with the heat if you are in more or expands outside contracts much , will crack the piece out.
If we work slips or oxides to be careful to place these separate pieces are highly vitrified slips ending and stick to other parts (by mistake in their formulation or excess glaze) and oxides that bubble is nice and know what parts contaminate surrounding it. (I missed something strange with cobalt, were my very blue patches plates ...).
• Place the pieces of well seasoned, if we have questions best left for the next batch. (In some bricks we did, one was completely twisted, for over a month that was drying up and decided to retrieve the dough, well, I hit him with a hammer to split and its interior was completely wet and almost soft, and it was a month that we were allowed to dry! well, a brick has a considerable thickness, but the story.)
Step: Turn the oven
d
From here will be about three hours to pay attention to the oven. One slip and the oven does not forgive.

Imagine the clock and divide it into quarters of an hour, so let's temper the oven, reaching the set temperature by turning the oven (if not automatic cutting) intermittently. This is what determines a good warm without breaking or bursting of parts. It is turn on my oven, I take it to 100 ° C and then wait an hour, no! We break it all! calm. I started with the oven door closed, there are many who prefer to leave a little bit ajar for steam to escape, but he said a manufacturer of furnaces with it all you got is to convection of air under the door cold air falls and hot air goes up, the pieces below are not tuned for this cold air intake, that when we close the door and continue with the spongy these pieces will hopefully be around for the 50 º C. There are conflicting opinions about it, so the resistance in electric furnaces but if the heaters are hot how can that hit him steam water? a truism, but everyone does it properly, door ajar, closed ...

Tempering: 1 st hour We started with the oven temperature, at 15 'reach 25 º C,
to 1 / 2 hour to reach 50 ° C
at 45' reach 75 º C
to reach 1st. hours at 100 º C.




At this time no
turn off the oven, keep the temperature and unclog the nozzles, we will see steam coming out, sometimes a lot: the humidity of the parts (although we assumed that they were dry) leave exit all, this will take several minutes. When we see that it will not leave steam (if we can not see to the mirror test, bringing a mirror to the nozzle and it is no longer tarnished.) enter and only then continue with the second hour of cooking.


Tempering: 2 nd time: now leave the jets uncovered
(must be left uncovered up to 700 º C, the vapor at about 300 ° C may go smoke mean that burn all organic compounds that may contain the mud) At the time, and 15 'reach 130 ° C, an hour and 1 / 2 reach 160 º C,
when 45' reach 190 º C
to reach the 2 nd hour to 220 º C.


Mild: 3 rd hour.

at 2 am and 15 'reach 250 º C,
at 2am. ½ to 280 º C,
at 2 hours and 45 minutes to reach 310 ° C and 3rd. hour to reach the 340 º C




Cooking proper, then:

From here continue cooking until the end of the biscuit. I keep a constant temperature rise of about 140-150 º C per hour. (Speaking of cake, because there are other glazes that need time to mature and fuse). There are many who say that a good biscuit is around 950 º C. I prefer to take up to 1040-1050 ° C. but to avoid those enamels which then cracked contraction. So I found him to turn down the enamel are not crackle with those who did not look and sound clink, clink, clink! for several days. (As yet making good use of glazes to correct the expansion-contraction may prefer to avoid anything that happens to me, but we went into another field.)

Notes:
during cooking if we have a power outage, reboot the temperature curve from the temperature at which it was cut.
If glaze, place cones, because the pyrometers are very nice, but after several baked these are input to mis and maybe we can have differences and then a glaze goes wrong because it did not reach the melting temperature. But how? If the pyrometer read both?? sometimes 10 ° C make the difference ....

And yes, baking is a plunger, more boring! ... especially if you are alone. To top do not you can go to sleep or go out there, because an accident with the oven, a power outage does not cut because the pyrometer is wrong ... well, let's find a mess or enamel pieces all crooked .
Patience, care and good cake!.

Sunday, December 6, 2009

Recordings On Dvr Deleted

The oven bottle! ►




Preliminary Notions

Cast:
once extracted from quarries:

is dehydrated by increasing the temperature until the total water release, strongly combined, we obtain during various plasters used in construction, which according to rising temperatures of dehydration include: • Temperature ordinary : gypsum, or calcium sulfate bihidrato: CaSO4 • 2H2O. • 107 ° C: formation of calcium sulfate hemihydrate: CaSO4 • ½ H2O.
• 107 - 200 ° C, drying the hemihydrate, with faster set than the previous commercial gypsum plaster.
• 200 - 300 ° C: light gypsum waste of water, setting very slow and very resistant.
• 300 - 400 ° C: fast setting plaster apparently, but very low resistance • 500-700 C: Anhydrous plaster or extra cooked very slow setting or no: plaster dead.
• 750 - 800 ° C begins to form hydraulic plaster.
• 800 - 1000 ° C: normal hydraulic plaster, or pavement.
• 1000 - 1400 ° C: hydraulic plaster greater proportion of free lime and faster setting. Main


varieties used in ceramics:


Plaster Paris or Type II

is a bit more compact and hard as Type I. Baking is generated in closed autoclave at 120 ° C. Its particles are smaller, regular type I, therefore, less porous and fragile. Also called "Stone." It is the most widely used ceramic molds that will be used to make castings.

extra hard plaster type III or Stone:
is heated above 120 ° C and mineral salts are added. It is even harder than the type II, with regular and fine particles, so it needs less water to set. Is much less porous, less fragile, so using models or matrices. (Of a matrix identical results in countless molds)
Hardening:
Basically the setting reaction is to reverse the process of calcination the cast. This reaction will give us energy provided by calcination and will therefore be an exothermic reaction (releases energy as heat). The hardening of plaster
occurs because contact with water, commercial plaster [2 (½ Ca SO4 H2O)] recovers the "parts" of water lost at time of his firing, making these molecules form again the original mineral or Algez, regaining their tiny molecular structure of crystals (the crystals formed cause a moderate but noticeable expansion). The chemical reaction that occurs can be written as follows: 2 (SO4 Ca ½ H2O) + 3H2O → 2 (Ca SO4 2H2O)

Why
used to make plaster molds for ceramics? • Because besides having hygroscopic properties (hydrated and dehydrated to water or moisture or lack thereof) plaster is porous and water particles in the slurry are absorbed into the pores by capillary action as the water molecules are much smaller than the molecules of clay.
plaster after setting presents a microscopic structure consisting of acicular crystals (needle shaped) calcium sulfate dihydrate, which intersect in three dimensions, leaving between them a series of micro and macroscopic pores. Microscopic pores have two origins: structure of the crystals, leaving a space between them, and the waste water does not react and the evaporation also occurs. Preparation


cast:

For every 1 ½ kg of gypsum is added 1 liter of H2O.


Directions: Place first
water in a container and then go throwing the cast in the form of rain until the surface water to form "islands" of plaster. Let stand 2 'and then stir gently with your hand without forming bubbles, until it has consistency of a milk that covers the skin of your hand evenly. Only then pour into the formwork and the cast (previously greased with release agent) stick tapping on the table to escape any bubbles that may have formed. Let set and then proceed to stripping. molds can be made for pressed or strained when we pressed for use with wet paste, here we must bear in mind that all walls of the piece must have an even thickness.
For slip casting is when we pour into them.
Materials needed for mold-making:
• solid clay model or original piece, if it is empty we fill it with newspaper and mouth to make a fresh layer of clay plaster casting that it does not enter it. • Formwork
• release agent (a mixture of tallow with kerosene)

• Water • Plaster • Lamas metal

Sierras • Sandpaper • Shellac (if we make an array)


release agent: 1 part


March stearin kerosene parties
Dissolve stearin double boiler the fire withdraw add kerosene. Mix well. Save
tightly capped glass jar. Apply with a brush.

Recordings On Dvr Deleted

The oven bottle! ►




Preliminary Notions

Cast:
once extracted from quarries:

is dehydrated by increasing the temperature until the total water release, strongly combined, we obtain during various plasters used in construction, which according to rising temperatures of dehydration include: • Temperature ordinary : gypsum, or calcium sulfate bihidrato: CaSO4 • 2H2O. • 107 ° C: formation of calcium sulfate hemihydrate: CaSO4 • ½ H2O.
• 107 - 200 ° C, drying the hemihydrate, with faster set than the previous commercial gypsum plaster.
• 200 - 300 ° C: light gypsum waste of water, setting very slow and very resistant.
• 300 - 400 ° C: fast setting plaster apparently, but very low resistance • 500-700 C: Anhydrous plaster or extra cooked very slow setting or no: plaster dead.
• 750 - 800 ° C begins to form hydraulic plaster.
• 800 - 1000 ° C: normal hydraulic plaster, or pavement.
• 1000 - 1400 ° C: hydraulic plaster greater proportion of free lime and faster setting. Main


varieties used in ceramics:


Plaster Paris or Type II

is a bit more compact and hard as Type I. Baking is generated in closed autoclave at 120 ° C. Its particles are smaller, regular type I, therefore, less porous and fragile. Also called "Stone." It is the most widely used ceramic molds that will be used to make castings.

extra hard plaster type III or Stone:
is heated above 120 ° C and mineral salts are added. It is even harder than the type II, with regular and fine particles, so it needs less water to set. Is much less porous, less fragile, so using models or matrices. (Of a matrix identical results in countless molds)
Hardening:
Basically the setting reaction is to reverse the process of calcination the cast. This reaction will give us energy provided by calcination and will therefore be an exothermic reaction (releases energy as heat). The hardening of plaster
occurs because contact with water, commercial plaster [2 (½ Ca SO4 H2O)] recovers the "parts" of water lost at time of his firing, making these molecules form again the original mineral or Algez, regaining their tiny molecular structure of crystals (the crystals formed cause a moderate but noticeable expansion). The chemical reaction that occurs can be written as follows: 2 (SO4 Ca ½ H2O) + 3H2O → 2 (Ca SO4 2H2O)

Why
used to make plaster molds for ceramics? • Because besides having hygroscopic properties (hydrated and dehydrated to water or moisture or lack thereof) plaster is porous and water particles in the slurry are absorbed into the pores by capillary action as the water molecules are much smaller than the molecules of clay.
plaster after setting presents a microscopic structure consisting of acicular crystals (needle shaped) calcium sulfate dihydrate, which intersect in three dimensions, leaving between them a series of micro and macroscopic pores. Microscopic pores have two origins: structure of the crystals, leaving a space between them, and the waste water does not react and the evaporation also occurs. Preparation


cast:

For every 1 ½ kg of gypsum is added 1 liter of H2O.


Directions: Place first
water in a container and then go throwing the cast in the form of rain until the surface water to form "islands" of plaster. Let stand 2 'and then stir gently with your hand without forming bubbles, until it has consistency of a milk that covers the skin of your hand evenly. Only then pour into the formwork and the cast (previously greased with release agent) stick tapping on the table to escape any bubbles that may have formed. Let set and then proceed to stripping. molds can be made for pressed or strained when we pressed for use with wet paste, here we must bear in mind that all walls of the piece must have an even thickness.
For slip casting is when we pour into them.
Materials needed for mold-making:
• solid clay model or original piece, if it is empty we fill it with newspaper and mouth to make a fresh layer of clay plaster casting that it does not enter it. • Formwork
• release agent (a mixture of tallow with kerosene)

• Water • Plaster • Lamas metal

Sierras • Sandpaper • Shellac (if we make an array)


release agent: 1 part


March stearin kerosene parties
Dissolve stearin double boiler the fire withdraw add kerosene. Mix well. Save
tightly capped glass jar. Apply with a brush.

Wisconsin Drivers License Last Two Digits

Temple and ceramic firing. ►


Formula: (so do not forget me) carbonate copper (copper oxide) 87% = 8.7 grams. iron oxide: 1% = 0.1 grams. Cobalt Oxide
: 2% = 0.2 grams. Flux
alkali: 10% = 1 gr.
water: 50 cc
± told you not as water is dirty? well, it seems that it was dirty water ...


Wisconsin Drivers License Last Two Digits

Temple and ceramic firing. ►


Formula: (so do not forget me) carbonate copper (copper oxide) 87% = 8.7 grams. iron oxide: 1% = 0.1 grams. Cobalt Oxide
: 2% = 0.2 grams. Flux
alkali: 10% = 1 gr.
water: 50 cc
± told you not as water is dirty? well, it seems that it was dirty water ...


Friday, December 4, 2009

Move Dvr Recordings To External Drive

spongy Moldería workshop, preliminary notions

turns out that playing and playing in the class of Burning Alternatives Midaglia Marta finally we combine the technique of "trapping the color" along with raku in one piece. Here it is:





exterior details:

raku white enamel interior, details:

It's that little boy And I'm happy! I caught the rainbow! And in a clay pot!
This will be the famous "pot at the end? ... is a lie then the gold, the rainbow is in person! There, from now on this technique is called "looking for the rainbow" and that was that. I tell you that today I did a bit creditor. Susy Thanks for the pictures!
This formula is catching color: Fried 10% alkaline (either alkaline)
86% copper oxide
1% Iron oxide
2% Cobalt Oxide 1% bentonite


The enamel interior :
50% bright white glaze (commercial) 50% Flux
alkaline.




Move Dvr Recordings To External Drive

spongy Moldería workshop, preliminary notions

turns out that playing and playing in the class of Burning Alternatives Midaglia Marta finally we combine the technique of "trapping the color" along with raku in one piece. Here it is:





exterior details:

raku white enamel interior, details:

It's that little boy And I'm happy! I caught the rainbow! And in a clay pot!
This will be the famous "pot at the end? ... is a lie then the gold, the rainbow is in person! There, from now on this technique is called "looking for the rainbow" and that was that. I tell you that today I did a bit creditor. Susy Thanks for the pictures!
This formula is catching color: Fried 10% alkaline (either alkaline)
86% copper oxide
1% Iron oxide
2% Cobalt Oxide 1% bentonite


The enamel interior :
50% bright white glaze (commercial) 50% Flux
alkaline.