These are the original cone 6 Perkins Studio Clear (left) beside our fritted version (right). You cannot just substitute a frit for Gerstley Borate (GB), they have very different chemistries. But, using the calculation tools in my account at insight-live.com, I compensated for the differences by juggling other materials in the recipe. I even upped the Al2O3 and SiO2 a little on the belief they would dissolve in the more active melt the frit would create. I was right - a melt-flow GLFL test comparison (inset left) shows that the GB version flows less. Using this on ware exhibited another issue (after doing a IWCT test): Crazing. The very good melt flow on my G2926A fritted version is thus good news: It can accept more silica - the more silica, the more durable and craze resistant it will be. How much did it take? 10% more! That ultimately became the recipe for our standard G2926B cone 6 transparent.

This is the G3914A recipe on Plainsman M340 test tiles. They were fired at cone 6 using the PLC6DS schedule. We tested them in four different caustic liquids (using the GLLE test), there is no sign of leaching on any of them. This recipe contains only 4% black stain, that is enough to stain the base GA6-B glaze to a jet black. The surface has a unique iridescence that is not found in any other glossy black we have used.

Wikipedia terms Knapping as “the shaping of flint, chert, obsidian, or other conchoidal fracturing stone through the process of lithic reduction to manufacture .. flat-faced stones.” In other words, it is the process of carefully breaking off pieces to create sharp edges and controlled surfaces.

Knapping is a thing. r/Knapping on Reddit has 12k followers. There are lots of YouTube videos, articles and books, websites and even commercial suppliers. Michael Slack has answered the question: Could Zero4 porcelain be knapped? The answer, as you can see, is: Nicely. This is not an arrowhead but a proof of concept biface. Michael was motivated after seeing the glassy internal structure of the fired material. He used 0.3% cobalt, thus the blue color. If you attempt this be advised of the importance of extremely vigorous mixing of the slurry to remove all agglomerates. Try various temperatures to find the most knappable material.

This is G2934Y (a version of the G2934 cone 6 matte base recipe that supplies much of the MgO from a frit instead of dolomite). Like the original, it has a beautiful fine silky matte surface and feels like it would not cutlery mark. But, as you can see on the left, it does! The marks can be cleaned off easily. But still, this is not ideal. The degree of matteness that a glaze has is a product of its chemistry. But can we fix this without doing any chemistry? Yes. By blending in some G2926B clear glossy (90:10 proportions). The result: The marks are gone and the surface is only slightly less matte. This underscores the need to compromise the degree of matteness, on food surfaces, enough to avoid staining and cutlery marking.

Multiple batches of fired test bars, organized by temperature, have already been weighed and measured (the weights and lengths are written on the sides of the bars). Each batch is accompanied by the cones from the firing in the test kiln (these influence how the temperature is recorded and adjustments to kiln firing schedules). Since we are working on many runs, tests and projects at any given time, these tests pile up rapidly. And they generate a lot of SHAB test data that needs to be input into your Insight-live.com account promptly.

This is a mold to test the shape and size of a Medalta Potteries ball pitcher. The shape and orientation of this 3D printed mold has worked better than others done till now for several reasons:
-It puts the printing artifacts where easily mitigated (e.g. centre of the belly). The steep slopes and verticals print smooth thus easing mold release.
-This 3D-printed shape is strong even though the walls are only 1.2mm thick.
-Th approach is conducive to a hybrid plaster and 3D printing approach: Making a case mold for the production of working molds.

Like the others, it retains several advantages intrinsic to this method:
-It is quite large yet each plaster half weighs only 2kg (4 1/2 lb) and dries quickly.
-Embeds were cast into the plaster enabling easy insertion of natches or spacers.

Plastic natches are cast into plaster molds to provide a durable and good-fitting interlock between pieces. The traditional self-interlocking 3/8" or 9.5 mm (nipple diameter) one has not proven suitable for mold making based on 3D printing. Our solution is a four-part system. To use it, your 3D printed mold shells only need matched 13.5mm holes.
-13.5mm holes in 3D printed case molds are all that is needed to adapt to these.
-3D printing case and block molds necessitates pouring plaster and rubber into shells with planar mating surfaces downward (they must sit flat on the table). The thin flanges on the clips cause minimal issues.
-Casting an embed into a mold enables gluing (or friction fitting) a natch or a spacer inside.
-The use of embeds permits flat mating surfaces - these can be sanded (for better flatness and fit). They also allow replacing natches if they get broken (assuming friction fit).
-A set of four interlocks (4 embeds, 4 clips, 2 spacers, 2 natches) weighs 8.7g.
Our drawing shows the measurements we use. 3D printing is precise enough that the inside dimension of the embed is the same as the outside of the natch shoulder, yet the natch fits. The same good fit happens with the clip and embed and the natch nipple and spacer (although it is necessary to chamfer the bottom corners and bevel the top corners of the spacer for better insert).
Some dimension changes may be needed to fine-tune for printing in your circumstances.

-Size of mixing container needed: 1L per 1000g of plaster.
-To determine the amount of plaster and water needed our normal process is to counterbalance the mold and fill it with water to get the cc volume, in this case 2000. Then use the glazy.org plaster calculator for the amounts of plaster and water needed. But this time I just used the gram/weight as the amount of plaster, 2000g. I derived the water, 1400g, according to the 70/100 ratio recommended by USG (it was 200g less plaster and was sufficient).
-Using a 4-minute soak and a good propeller mixer there is no need to sprinkle the plaster in.
-Make sure no plaster is hanging on sides of the mixing container after soak.
-Mix with a whirlpool shallow enough that it does not suck air but deep enough that it is pulling bubbles up to the surface.
-Make sure the mold is strong enough not to split at the bottom and is a strong shape that will not bow out. 3D print it so the artifacts are at the top. For PLA mold soap is not normally needed.
-Make sure the mold is sitting on a very flat surface.
-We had to apply tape to the bottom flat surface to make sure it is watertight.
-Pour the plaster into the mold in a steady stream that does not pull in bubbles.
-Remove using a heat gun when the plaster is set.

Stains can work surprisingly well in matte base glazes like the DIY G2934 recipe. The glass is less transparent and so varying thicknesses do not produce as much variation in tint as glossy bases do. Notice how low many of the stain percentages are here, yet most of the colors are bright. We tested 6600, 6350, 6300, 6021 and 6404 overnight in lemon juice, they all passed leach-free. The 6385 is an error, it should be purple (that being said, do not use it, it is ugly in this base). And chrome-tin pink and maroon stains do not develop the color (e.g. 6006). But our G1214Z1 CaO-matte comes to the rescue, it both works better with some stains and has a more crystal matte surface. The degree-of-matteness of both can be tuned by cooling speed and blending in some G2926B glossy base. You can mix any of these into brushing or dipping glazes.

This glaze, G2926B, is our main glossy base recipe. Stains are a much better choice for coloring it than raw metal oxides. Other than the great colors they produce here, there are a number of things worth noticing. Stains are potent; the percentages needed are normally much less than for metal oxides. Staining a transparent glaze produces a transparent color, it is more intense where the laydown is thicker - this is often desirable in highlighting contours and designs. For pastel shades, add an opacifier (e.g. 5-10% Zircopax, more stain might be needed to maintain the color intensity). The chrome-tin maroon 6006 does not develop well in this base (alternatives are G2916F or G1214M). The 6020 manganese alumina pink is also not developing here (it is a body stain). Caution is required with inclusion stains (like #6021). Bubbling, as is happening here, is common - this can be mitigated by adding 1-2% Zircopax. And it’s easy to turn any of these into brushing or dipping glazes.