Showing posts with label Kiln wash. Show all posts
Showing posts with label Kiln wash. Show all posts

Wednesday 31 January 2024

Care of Ceramic Kiln Shelves

Mullite kiln shelves
credit: IPS Ceramics


The most popular and easily available ceramic shelves are made from Mullite, Cordierite, and CoreLite. Other hard specialist kiln shelves are available. They are made of other materials. Shelves are also made from other materials such as refractory fibre board, vermiculite, and fire-resistant ceiling tiles. This concentrates on the care of ceramic shelves.

Composition and Characteristics

This table gives some information about the characteristics of the materials involved in these shelves.

 

Name

Thermal Shock Resistance

Brittle

Strength

Composition

CoreLite

Low

Yes

Moderate

Ceramic with a high silica content

Cordierite

High

Yes

Strong, but heavy

Magnesium, iron, aluminium oxide, silica

Mullite

High

Yes

Strong. but heavy

Silica, Aluminium oxide

 

CoreLite is a trade name for an extruded ceramic shelf. It is strong, but brittle. It is subject to thermal shock below 540ºC/1000ºF. This suggests the ceramic has a high silica content as the quartz inversion is at 573°C/1063°F, where the ceramic has a sudden expansion on heating and an equal contraction on cooling. The cooling rate at this temperature is normally slow enough to avoid breakage.

credit: Clay Planet


cordierite - composed of magnesium, iron, aluminium oxide, and silica. hard, brittle, and with low expansion characteristics.

credit: refractorykilnfurniture.com


Mullitecomposed largely of silica and aluminium oxide. It is strong, brittle, and has good thermal shock resistance.

Care

There is enough information from considering the composition of these shelves to indicate they are all brittle and have differing vulnerabilities. These have implications for storage, use and cleaning.

Storage

If storing vertically, take care to avoid setting down on hard surfaces. If they are in a rack, have a separate slot for each shelf. This avoids friction between shelves and possible surface scratches. The most useful material for these racks is wood, or harder materials covered with wood. These racks can be horizontal or vertical.

If it is not possible to have a separate rack for each shelf, do not lean them on each other. Shelves leaning against others or against hard surfaces can become scratched. Provide a cushion against scratches such as cardboard, or thin plywood.

When moving the shelves, avoid setting them down on their corners, or bumping the shelf anywhere against hard structures.

Use

Reduce firing speeds to less than 220ºC/430ºF per hour up to 540ºC/1005ºF, especially for CoreLite shelves. Cordierite and Mullite shelves are not as sensitive, but still can be broken by fast firing rates in this temperature region.

Cover a large portion of the shelf at each firing to avoid uneven heating of the shelf. It is best to evenly distribute moulds and other things that shade the heat from the shelf around the shelf to help avoid thermal shock breaks.

If you cannot or do not want to cover the whole shelf, elevate the mould(s). This helps to keep the whole shelf at the same temperature when only small parts of shelf are covered. It does not seem to matter so much when flat glass is in contact with the shelf. But continue to observe the moderate ramp rates below 540ºC/1005ºF.

It is even more important to elevate damp or heavy moulds from the shelf. These kinds of moulds shade the heat from the shelf immediately below them while the rest of the shelf heats rapidly. This difference in expansion over parts of the shelf becomes too great for the shelf to resist.

Another thing to avoid is cutting fibre or shelf paper on top of the shelf. It often creates long shallow scratches in the shelf. These can be the source of bubbles, but more often, flaws on the back of the fired pieces.

Cleaning

Care is needed to avoid mechanical damage during cleaning. Scraping can create scratches in the shelf. These are difficult to remove or fill smoothly. So, scraping needs to be done carefully.

Any sanding also needs to be done carefully. If you use power tools, it is very easy to create shallow depressions that will be the source of bubbles in future firings. It is slightly more time consuming to manually sand the kiln wash with a sanding screen with or without a holder. But it preserves the flatness of the surface.

If it is decided to wash the shelf primer off the shelf, consider how difficult it is to wash a very persistent baked on substance. It requires thorough scrubbing to remove all the hardened material. Power washers are not advised since the high water pressure can abrade the surface of the shelf.  But if you do decide on washing, you need to air dry for several days afterwards. Then kiln dry slowly to just below boiling point of water. Soak at that point for several hours, or until a mirror held above the open port does not fog up.

There is more information on removing kiln wash here and here.


Summary

Ceramic kiln shelves are hard, but subject to scratches, impact breaks, excess dampness, failure due to uneven temperatures, and to rapid rises in temperature below 540ºC/1005ºF.

Wednesday 29 November 2023

Stuck Kiln Wash

 

Moulds

Kiln wash on ceramic moulds lasts a very long time. But sometimes you want to use a different separator. First you need to prepare yourself and the area for the process.

Preparation

It is best to wear a mask while removing kiln wash or other separators to reduce the amount of dust you inhale. Wearing an apron or other outer wear will keep the dust off your clothing.

Spread a cloth, newspaper or other covering around the area. This is to be able to easily gather the removed kiln wash and place it in the waste.  Have a vacuum sweeper at hand to remove powder rather than blowing it around the workspace.  Of course, if you can do this outside, there is much smaller risk of contamination.

Removal Methods

The method of removing kiln wash depends in part on what the mould material is.

Metal

You can sandblast, manually sand, or wash off the kiln wash from metal moulds.

Ceramic


Sandblasting is not a safe method for ceramics, as it is so easy to damage the surface of the mould. Removing the kiln wash while dry is a good first approach. It saves having to wait long times for air drying and long kiln drying of the damp mould. You can lightly sand off the kiln wash from smooth surfaced
moulds, and for detailed areas use rounded point wood and plastic tools. This can be backed up with a stiff nylon brush to clear out the narrow or detailed areas.

When these dry methods are insufficient, there are wet approaches. I recommend dampening the kiln wash rather than immersing the mould in water. The same tools can be used as for the dry removal.

Soaking or washing the mould does not remove the kiln wash as easily as you might think.  It is especially to be avoided where the mould has an internal hollow, as it may take days to dry sufficiently to apply other separators.  To put it in the kiln risks breaking the mould by the steam build up during the initial rise in temperature.

If you must soak the mould, I recommend that you use a 5% solution of citric acid because it has a chelating action on the kiln wash.

More information on removing kiln wash from moulds.

Remember that once the mould or shelf has been coated with boron nitride, it is almost impossible to go back to kiln wash again.  The boron nitride irreversibly fills the porous element of the ceramic, making it difficult for the kiln wash to adhere to the mould.

Shelves

The easiest surfaces to remove kiln wash from are flat or ones nearly so.

Dry Methods

Abrasive methods work well with a variety of tools. They can range from large paint scrapers to smaller ones with a Stanley blade inserted. 

 


Coarse open mesh plaster board (dry wall) sanding sheets are very useful. There are frames that you can fix them to, but sanding without the frame works well too.


Using power tools to sand the shelf is not advisable.  It is too easy to remove lots of material, including the surface of the shelf – even the hard, ceramic ones.  This leads to minor depressions in the shelf and consequent bubble difficulties when firing.

Do not be tempted to sandblast either, as that can easily create the small depressions in the surface of the shelf that subsequently lead to bubbles. 

Wet methods

Wet methods can be used if you are concerned about the dustiness of the process.  You can dampen the kiln wash on the shelf and sand or scrape as with the dry methods.  You will create a paste or slurry which can be bagged and put in the waste. You can also use the green scrubby washing up pads.  Unless you frequently rinse the pads, the kiln wash builds up and clogs the pads. making them ineffective.

 



Some people use vinegar or chemicals such as lime away with the water. The material that makes the kiln wash stick to the shelf is China clay and the separator is alumina hydrate. Both of these elements are almost impervious to the chemicals available to kiln workers. Instead, use citric acid. It has a chelating action which will incorporate the particles of the kiln wash. This will require some scrubbing, but avoids the smells of vinegar and the risks of other chemicals.

Do not be tempted to use pressure washers. Yes, they will remove the kiln wash. But it will also leave divots in the shelf which will cause later problems with bubble creation.

A big drawback to using wet methods, is that the shelf becomes wetted throughout and needs careful drying before use. 

Both the wet and dry methods can be used on smooth, gentle curved moulds. These include wave moulds, shallow moulds without flat bottoms, cylinder moulds, and such like.

More information on Kiln Wash Removal from shelves is available here,

and here.

Boron Nitride

A note on the reversibility of boron nitride. This is sold under a variety of trade names such as Zyp, More, MR97, etc., and sometimes under its chemical name.

Some people are applying boron nitride to ceramic moulds for the "smoother" surface.  Boron nitride is an excellent separator for metal moulds and casting moulds whether metal or ceramic. But it has limitations, including the price and the requirement for a new coating at each firing.  Some are beginning to wonder if they can go back to kiln wash after having used the boron nitride.

The general experience has been that you can't apply kiln wash on top of the boron nitride. It just beads up and flows off, because the boron nitride creates a non-wetting surface that survives relatively high temperatures. The kiln wash which is in water suspension has no opportunity to adhere to the mould.

The most accepted way to get rid of the boron nitride is by sandblasting. Sandblasting risks pitting the mould. Manual sanding seems to enable the ceramic mould to accept kiln wash. Perhaps enough of the surface is removed to reveal the porous nature of the ceramic mould. You do need to be cautious about taking the surface of the mould away when using abrasive removal methods. The ceramic is relatively soft in relation to the abrasive materials.

The difficulty of removing boron nitride from ceramic moulds means that you must think carefully about which moulds you coat with it.  If the mould has delicate or fine detail, removing the boron nitride risks the removal of the detail.  This indicates that this kind of mould, once coated, should not be taken back to the bare mould.

If you are using boron nitride to get a smoother surface to the object, consider using a lower slumping or draping temperature. This will minimise mould marks very effectively. And without the expense of boron nitride.

More information on removal of boron nitride is given here. 

More information about mould treatment is available in the ebook: Low Temperature Kiln Forming and at Bullseye ebooks

Wednesday 4 October 2023

Muriatic acid as a cleaner of kiln wash

Muriatic acid is a common name for hydrochloric acid.   Let’s look at what is being cleaned off first.

The main components of kiln wash are hydrated aluminia, kaolin, and colouring. Colouring burns away, hydrated aluminum is inert at kilnforming temperatures, Kaolin begins a non-reversable change from hexagonal plates to a crystalline form at about 600C/1100F and completes it by 900C/1650F. Now consider the characteristics of each element. 

Aluminium Oxide

Aluminium oxide is widely used for its hardness and strength. It is only slightly softer than diamond. In its hydrated form it is a separator between glass and supporting structures. It has excellent refractory characteristics with a melting point of 2,072 °C/3,762 °F. But it is insoluble in water and all solvents. It is largely impervious to acids. 

Kaolin


Kaolinite structure, showing the interlayer hydrogen bonds in white.
Source: Wikipedia
 

Compared with other clay minerals, kaolinite is chemically and structurally simple. It consists of layers, each bound together by shared oxygen ions. The layers are bonded via hydrogen bonding between oxygen on the outer face of one sheet and the other. … The close hydrogen bonding between layers also hinders water molecules from infiltrating between layers, accounting for kaolinite's non-swelling character.

When moistened, the tiny plate-like crystals of kaolinite acquire a layer of water molecules that cause crystals to adhere to each other and give kaolin clay its cohesiveness. The bonds are weak enough to allow the plates to slip past each other when the clay is being moulded, but strong enough to hold the plates in place and allow the moulded clay to retain its shape.   Source: https://en.wikipedia.org/wiki/Kaolinite

It is this slipperiness that makes it a good carrier of the aluminium hydrate. However, kaolin begins a non-reversable change from hexagonal plates to a crystalline form at about 600C/1100F and completes it by 900C/1650F. It is the crystalline form that sticks to glass. So, it is the clay (kaolin) that needs to be removed from the glass.

Hydrochloric acid as a cleaner of kiln wash

Glass is almost impervious when it has a minimum of modifiers. Glass which has a minimum amount of [modifiers] and is almost entirely SiO2 is remarkably chemically inert and reacts only with very strong alkaline (bases) materials.   Source: https://www.quora.com/How-come-hydrochloric-acid-does-not-burn-through-the-glass-bottle-that-its-stored-in

Note that coloured and fusing glass have a significant level of sodium and potassium modifiers. This means that fusing glass is subject to attack by hydrochloric acid. 

Safety notes on hydrochloric acid

Being a strong acid, hydrochloric acid is corrosive to living tissue and to many materials, but not to rubber. Typically, rubber protective gloves and related protective gear are used when handling concentrated solutions. Solutions of less than 25% cause skin irritation, serious eye irritation and respiratory irritation. Over 25% causes severe skin burns and eye damage. It is also a precursor of many illegal drugs. Serious safety gear is required to handle even 10% solutions. 

Even then:

“Clays are not truly soluble in HCl acid, [but] exposure to HCl acid does affect the structure of clay minerals. Hydrochloric acid cleans clay minerals by removing free iron oxide from the surface. … The dissolution of kaolinite clay in hydrochloric acid solutions has been carried out in the presence of fluoride ions. Leaching in the presence of fluoride ions activates the clay for leaching, making higher extractions possible at lower roasting and leaching temperatures. Acetic acid [vinegar] is less effective.”   Source: Stability of Clay Minerals in Acid, by D E Simon and M S Anderson. https://onepetro.org/SPEFD/proceedings-abstract/90FD/All-90FD/SPE-19422-MS/68436 

This piece of research shows that hydrochloric acid is most effective in combination with fluoride and heat.

Other reported research from Researchgate shows:

“Kaolin and other clays are partly soluble in acidic solutions (organic or inorganic acids in water) but the … solubility is never complete. Increasing the acid content doesn't … increase the solubility.” Philip G Jessop, Queen's University. 

       “Potassium hydroxide … will get kaolinite dissolved with a white residue for selective leaching. … The most aggressive solvent is hydrofluoric acid which "kills" almost all silicates [including kaolin]. … For the kaolinite group … use hydrazine as solvent.” Harald G. Dill, Leibniz Universität Hannover. 

Hydrazine is highly toxic unless handled in solution. Hydrofluoric acid may dissolve the kaolin, but it also dissolves the minerals in glass. Both these chemicals are extremely dangerous. 

Conclusion

It is not advisable to use hydrochloric (muriatic) acid as a cleaner of the kaolin in kiln wash from glass. 

There are other much safer methods which use a chelating action rather than attempting to dissolve the almost insoluble kaolin. These are citric acid for brief (less that 24 hours) soaking, or trisodium citrate for longer periods.


Wednesday 13 September 2023

Wet shelves

 "Was the shelf completely dry? I’ve had pieces practically crumble from a wet mold or shelf."

There is a lot of speculation about wet shelves causing problems. And not just this one. The reported problems centre around large bubbles and glass sticking to the shelf. Generally, the dampness is the result of applying kiln wash. Although the mould or shelf can be damp for other reasons too.

Kiln Wash

I assure you that kiln wash is dry long before the glass sticks together. It is dry before the glass forms a seal to the kiln shelf or mould. The moisture has sufficient time and space to move from under the glass during moderate first ramp rates.

There is a precaution about wet shelves and moulds, though. You need to be careful in placing glass on top of wet kiln wash. It is possible to scrape kiln wash off areas of the shelf when placing the glass. So, the glass must be placed directly onto the supporting surface without any subsequent movement.

Wet Moulds and Shelves

However, if it is the mould or shelf which is wet, rather than just the dampness from kiln wash, different considerations apply.

If a mould is wet, it will need days of air - and then careful kiln - drying before using. It is best to avoid getting shelves and moulds wet. Washing or soaking of these items is not recommended.

The difficulties relate to the nature of wet porous structures. Not only is there free water in the structure of the mould/shelf, but there is also chemical water. Free water is what makes things feel or look wet. Chemically bound water is molecules of water lightly bonded to molecules of the structure. An item can appear to be dry and still contain this chemically bound water.

Both need careful removal. Air drying for up to a week is good for removing the free water. If you do not want to wait that long, you can kiln dry. But this needs to be done carefully. A slow ramp to just under the boiling temperature of water is required to allow the water to evaporate without creating steam. This rate should be less than 100˚C/180˚F per hour. The length of the soak needs to be related to the size of the piece and how wet it is. But one hour is a minimum.

Then another slow ramp needs to follow to remove the chemically bound water. This temperature is around 250˚C/480˚F. Hold that temperature until no fogging of a mirror or glass held above the open port occurs. This will ensure the mould is completely dry and free of the chemically bound water too.

Conclusion

The best advice is to avoid wetting shelves or moulds. It takes a lot of care and time to get them completely dry. The dampness created by applying kiln wash is easy and quick to remove. It can be done during a firing with a moderately slow rise in temperature to 250˚C/480˚F or beyond.

 

Wednesday 21 June 2023

Kiln Wash Sticking to Glass

Causes and avoidance

 

Photo credit: Immerman Glass

 In general, kiln wash for glass is made up of aluminium hydrate with kaolin (China clay) as a carrier. I do not know the exact chemical changes of kiln wash at fusing temperatures. But I do suspect it has to do with the kaolin. The aluminium hydrate is stable to much higher temperatures (melting point of 2,072°C/3,762°F). So, I don't believe that part of kiln wash is changing.

 Some reading has led me to learn that by 600°C/1113°F the kaolin begins to go through a non-reversable chemical change. Prior to that, water can rehydrate the kaolin. In the hydrated state kaolin forms hexagonal plates that can slip over one another. Once 600°C/1113°F has been exceeded crystallisation cannot be reversed. It does not become fully crystalline until 935°C - 950°C/1717°F - 1744°F. The crystallisation stops the lubricating effect. I suspect that on the second firing these crystals (which contain silicon dioxide) interact with the glass and stick, although not fully combining with the glass. Why this does not happen in the first firing, I do not know.

 The fact that the crystallisation cannot be reversed must be the key as to why kiln wash with kaolin cannot be re-used once fusing temperatures have been used in a previous firing. It also indicates that repeated tack fusing on kiln wash will ultimately fail as the crystallisation will gradually increase with each firing.

 However, at slumping temperatures, it appears the crystal formation is so slow as to have no effect on multiple firings.

 There are of course ways to avoid kaolin. There is a kiln wash, called Primo Primer that does not have kaolin in it. And you could make your own kiln wash from aluminium hydrate. This is known as slaked alumina in ceramics. It can be used on its own, although the incorporation of  binders makes the application easier. The grades used in ceramics are usually coarser than kilnformers want. But it can be made finer by putting it in a rock tumbler with some stainless steel ball bearings. You can run the result through a fine screen to remove the ball bearings. Mix with water to brush on, or sprinkle dry over the shelf. The aluminium hydrate can be re-used, if they are kept free of contaminants. Aluminium on its own does not provide as smooth results as when the kiln wash contains kaolin.

 Chalk, also known as whiting, is calcium carbonate. This is often used as a separator in vitreous paint firings and some forming operations. It has low solubility in water, so cannot be painted onto shelves or moulds. It needs to be used as a loose or compacted powder. It goes through chemical changes too, making renewal after firing advisable. Above 800°C/1473°F calcium carbonate changes to calcium oxide, or quicklime. This corrosive form is another reason it is disposed of after any higher temperature firings.

 Kiln wash and calcium carbonate can be fired many times at low temperatures, because their chemical composition remains relatively stable. Once higher temperatures are used, chemical changes occur. This seems to enable them to stick to the glass or form undesirable compositions. This phenomenon requires removal and re-coating of shelves and moulds after full fuse firings.

Kaolin provides significant advantages in the smooth application of kiln wash.  Caution needs to be exercised in using it after it has been fired to fusing temperatures, although it can be used at low temperatures for indefinite numbers of firings.

 Methods for removal of kiln wash are in this blog post.


Wednesday 14 June 2023

Spider Web Cracks

 

Credit ASTM


 The nature of the cracks - and spider web describes it perfectly - shows an adhesion problem. It is not an annealing problem as that shows a single sinuous line with a hook at each end. It is not a compatibility problem, as that shows as cracks or breaks along the edges of the combined glasses. It is not a thermal break, as those show as breaks where the glass has separated to some amount.

 

Glaze crazed in a ceramic vessel
 

The cracks are exactly like crazed glazes on ceramic objects. And for the same reason. The glass is trying to contract more than the underlying ceramic. It is stuck to the pores of the ceramic and creates a crack where there is a slightly weaker part of the glass. These cracks in ceramic glaze propagate across the surface as it wears, or in the kilnforming case as it cools.

 

Glass puddled in ceramic


 Most usually it results from a lack of separator in that area of the shelf, or uncoated kiln furniture. It indicates either the glass has adhered to the shelf or mould, or (rarely with fusing glass) that the glass has suffered severe devitrification.

 


 

 Occasionally there will be the appearance of shards of glass. This will be where the glass has stuck to some particle on the shelf. Sometimes it can be a speck of something resistant to the temperatures we use in kilnforming that “grabs” the glass and breaks it into shards from that point as the glass cools.

 It is not the schedule that causes the breaks. It is in the shelf preparation.

 The shelf should be cleaned of all the kiln wash and lightly sanded down to smooth. It should then be coated with four thin layers of kiln wash painted in a different direction for each layer. No drying is necessary or even advisable. All kiln furniture must be completely coated with kiln wash.

 If you are re-using a shelf, it must be swept clean before any glass is laid on it.

 Crazing results from the glass sticking to the surface it is resting on.

 

Some additional information:

https://glasstips.blogspot.com/2019/05/kiln-cleanliness.html

https://glasstips.blogspot.com/2020/07/crazing.html

 

Wednesday 19 April 2023

Drying Kiln Washed Moulds

A question about kiln wash. Do you have to let each coat dry while applying before applying the next coat?

 There seems to be a popular notion that newly kiln washed moulds must be cured before use.  I'm not sure where the information comes from, and no reasoning is given.  It is suggested that that quickly heating newly kiln washed moulds to 550°F (290°C) is important.

 If you want to make sure the mould is dry, this may not be the best way to do it.  All ceramics have a cristobalite inversion at around 225°C/437°F.  This a very rapid increase in volume of 2.5% that often leads to cracks and breaks in ceramics when the rate of advance is quick.  The mould will react better and last longer if the rate of advance is slow until that inversion temperature is passed.  But also note there is a quartz inversion at around 570°C/1060°F that is significant.

 

 This is another reason to advance the temperature slowly when slumping or draping with a ceramic mould.  A further reason to heat slowly is to avoid steam formation within the ceramic body.  If the steam is created over a short time, the force can be great enough to break the ceramic.  To ensure the water evaporates, a soak at 95°C/203°F for a significant amount of time is a better, safer option.

 But in addition to all these precautions, it simply is not necessary to cure kiln wash on slumping and draping moulds made of ceramics.  The glass does not begin to move until after 540°C/1000°F. Therefore, the kiln wash will be dry long before the glass gets near slumping temperatures.  Any vapor caused by evaporating water will escape through the vent holes in the mould or under the glass at the rim, as it will not form a seal until higher temperatures.

 

Newly kiln washed mould beside others already fired



 If you want to be sure your kiln wash is dry before you put the mould in the kiln, you can leave it in a warm ventilated space, or even on top of your kiln while it is being fired.  Using either drying method will dry the kiln wash sufficiently before the glass is placed on the slumping mould.

 The other part of the question was about drying the kiln wash between applying coats. It is not necessary to dry between coats of kiln wash.  In fact, a better result is obtained by applying all the coats at one time. It is not like painting wood. The result of applying all coats is a smoother surface.  There is no dragging of the dry powder along with the wet kiln wash as it is being applied over the existing coats.

 Kiln drying ceramic slumping and draping moulds is not necessary. It only adds another, unnecessary step in kilnforming preparations.  There are exceptionally good reasons to avoid rapid firing of damp moulds. 

 Some extra care could be taken with texture moulds and those intended for casting.

Wednesday 15 February 2023

Conditions for Re-firing Kiln Wash

I do not know the exact chemical changes of kiln wash at fusing temperatures.  But I do suspect it has to do with the kaolin.  The aluminium hydrate is stable to much higher temperatures (melting point of 2,072°C/3,762°F).  So, I don't believe that part of kiln wash is changing. 

The Influence of Kaolin

Some reading has led me to learn that by 600°C/1113°F the kaolin begins going through a non-reversable chemical change.  Prior to that, water can rehydrate the kaolin.  In the hydrated state kaolin forms hexagonal plates that can slip over one another.  Once 600°C/1113°F has been exceeded the crystallisation formed cannot be reversed. It is a gradual process.  It does not become fully crystalline until 935°C - 950°C/1717°F - 1744°F. The crystallisation stops the lubricating effect of the kaolin.  I suspect that on the second full fuse firing these crystals (which contain silicon dioxide) interact with the glass (also silicon dioxide) and stick to the glass.  Although it does not fully combine with the glass.  Why this does not happen in the first firing, I do not know.

The fact that the crystallisation cannot be reversed must be the key as to why kiln wash with kaolin cannot be re-used once fusing temperatures have been reached.  The crystallisation at 800°C/1473°F is nearly complete.  It begins to exhibit the "stickiness" to the glass.  

People who consistently avoid contour and full fuse firings find they can get more than one firing from kiln wash.  This will be because the crystallisation is only partially completed.  But it indicates that repeated tack fusing on kiln wash will ultimately fail as the crystallisation will gradually increase with each firing.  The number of firings possible on one coating of kiln wash will be dependent on temperature and times, among a few other things.

However, at slumping temperatures, it appears the crystal formation is so slow as to have no effect with multiple firings.  Many people experience no difficulty with kiln wash sticking to the glass over many firings, when low temperatures are used.  High temperature slumps will reduce the life of the kiln wash (where life is taken to mean the degree of crystallisation).

 

Picture Credit: Amazon

Avoiding Kaolin

There are of course, ways to avoid kaolin. There is a kiln wash, called Primo Primer that does not have kaolin in it. And you could make your own kiln wash from aluminium hydrate. This is known as slaked alumina in ceramics. It can be used on its own with or without a medium to assist the smooth application of the kiln wash.  One good medium is CMC.

When selecting the aluminium hydrate, be aware there are finer and coarser particles.  The grades used in ceramics are usually coarser than glass people want. But it can be made finer by putting it in a rock tumbler with stainless steel ball bearings. You can run the result through a fine screen. Mix with water to brush on, or sprinkle dry over the shelf. Both these can be re-used. Neither provide as smooth results as when the kiln wash contains kaolin.

Chalk, also known as whiting, is calcium carbonate. This is often used as a separator in vitreous paint firings and some forming operations. It has low solubility in water, so cannot be painted onto shelves or moulds. It needs to be used as a loose or compacted powder. It goes through chemical changes too, making renewal after firing advisable. Above 800°C/1473°F calcium carbonate changes to calcium oxide, or quicklime. This corrosive form is another reason it is disposed of after any higher temperature firings.

Kiln wash and calcium carbonate can be fired many times at low temperatures, because their chemical composition remains relatively stable. Once higher temperatures are used, chemical changes occur. This seems to enable them to stick to the glass or form undesirable compositions. This phenomenon requires removal and re-coating of shelves and moulds after full fuse firings.  Their advantages are ease of use and low cost.

Wednesday 26 October 2022

Kiln wash beading up

Sometimes kiln wash does not seem to want to stick to the mould.  There are several possible reasons. The main two seem to be a hard spot in the slip cast moulds that we use.  Another is the previous use of boron nitride or other sealant of porous surfaces.

The remedies are different for these two causes.  For hard spots you can add a bit extra kiln wash to the area.  Normally enough separator adheres to the spot to avoid sticking.  This is so even though you can see the spot more clearly than the rest of the mould.

Sealed surfaces present a little more difficulty.  It is possible to carefully sand blast off the boron nitride from the surface using low pressure and very little abrasive.  This works well for textured surfaces, if you are careful.  You can also manually sand the sealant off which works better for regularly shaped smooth surfaces.   The object of both these processes is to remove the sealed surface to reveal the porous material again.  You must remember that you are removing some of the surface of the mould in these abrasive processes.  Once removed kiln wash can be applied as before.

If neither abrasive method works, it does not mean the mould is ruined.  You can continue to use boron nitride.  Or, if you want to avoid the costs of boron nitride, you can sprinkle fine dry kiln wash over the mould.  You should give the mould a final application of boron nitride before using the dry kiln wash.

Wednesday 19 October 2022

Kiln Wash Mix

There seems to be a view that the exact consistency of the kiln wash mix is important.  Within limits the mix proportions are not vital.  The general recommendations from manufacturers is one part powder to five parts water – both by volume.  This is a good guide for general use.

 

It is possible to make the kiln wash mix too thick.  If it goes onto the shelf or mould in a pasty fashion it is too thick.  A thick mixture leaves definite streaks and uneven levels that are difficult to smooth and level.  If you get these effects, scrape it off and put it into a jar with more water.  Mix until it is creamy to avoid lumps.  Then add more water until you have a very liquid mix.  It needs only be a little less runny than plain water.

 

Is it possible to have too thin a mix of kiln wash?  I suppose it is, but not likely.  If you feel it is too thin, you only need to add more coats of the mix until the shelf surface is obscured. Often when the mix seem thin, it is because the powder has separated from the water.  It is necessary to stir the kiln wash thoroughly to get all the solids in suspension.  Then frequent stirring during the application is necessary to keep the mix even at both the top and the bottom of the container.  Storing the mixed kiln wash in a clear container will enable you to see if kiln wash is still settled on the bottom.

 

The object of the kiln wash is to provide a separator between the supporting surface and the glass.  It needs to be only a film of separator to be effective.  In fact, if the kiln wash is too thick, it will flake and stick to the back of the glass.  In the case of kiln wash - more is definitely worse.

 

For very absorbent materials such as vermiculite or fibre board, I mix kiln wash thicker – about 1:3.  The idea behind this is to reduce the amount of water the mould absorbs.  With less water in the mould, less drying time is needed, especially with a vermiculite mould, where steam pressure could break the mould.