vendredi 19 décembre 2014

Making "GREEN" Sand

WARNING!!!: You got a brain... USE IT! Building and working with a foundry furnace is "NOT" child's play. It can be very dangerous and if 'you' screw-up don't come crying back to me! If you don't know what you're doing and didn't take the time to read and study all the safety procedures that are available on the net, and you get hurt that's 'your' problem. You are responsible for yourself and your own actions and safety.
--- "NOT ME!" ---



One thing you should know is that building a furnace is 'NOT' a weekend project..... You can figure on spending at least a month putting one together, (The right way.)

Of course if you're loaded with extra bucks just burning a hole in your pocket there are shortcuts you can do.

Doing my research on the net, I've found 100's of designs. Some were just fire brick stacked into a circle on a steel rack another was nothing more than refractory jammed into nothing more than a cut in half milk jug. :-(

The same thing applies to making green sand for your molds. Everyone has their own "PET" formula for making their sand.... AND many won't give out their 'secret' formula.

My designs are not new... just modified the basic concepts to my own ideas and I think improvements.

I can say without a doubt I've LEARNED A LOT!!! Of what NOT to do and things I FORGOT to do, and some things I SHOULD HAVE DONE, so if you try to do this understand right off that this is a learning process and you WILL make mistakes.

I'm not sure just what I can show you in the way of pictures, after all it's just a box of sand and clay mixed together.

    What green sand boils down to is this:
  • The finest sand you can find (100g to 175g or higher)
       for the even better finishes try and stay above 150g
  • well drillers clay (Bentonite) or Bentone
  • water with Bentonite or oil with Bentone
BUT! with that said; I've seen and read of molders using:
  • Beach or river washed sand
  • Sand box sand
  • Sandblast sand


THE CLAY:
If you have a Well Driller in your area you can probably buy 100# bags for about 10 bucks, and this will save you a lot of work. The Clay is called: Bentonite

Fireclay is 'not' the same as well driller's (Bentonite) clay. I guess Bentonite Clay is denser, because you use a lot less.

Some molders have taken bags of cat litter and ground it into a powder using a small electric coffee mill grinder (Please check with the boss before you take "HER" grinder for your project ;-) ), or making a ball mill and using marbles to grind it up. (We're talking industrial size marbles 3/4" to 2-1/2" in diameter.)

"MARBLES?!?!?!?

"YES!" Marbles...
What is a marble? "GLASS"
What is glass made from?!?! "MELTED SAND", so you have no contamination.

OK!? So what's a "Ball Mill"?
A ball mill is nothing more than some kind of a drum/ container, (A 5 gallon pail works good if it has a lid that snaps on tight.), that you can seal; then it's laid on rollers and rotated at about 30 to 50 rpm's for hours at a time. The marbles break up the clay into a fine powder to be mixed with the sand.

A WORD OF CAUTION HERE: This makes a very fine powder, so "USE" a dust mask when every you are working with this clay and that goes for adding it to your sand as well.

Ok, now we have the problem that goes down thru the ages... "Getting the sand to thoroughly bonded with the clay"

You can do this in several ways....

  • By Hand -- very labor intensive!
  • By machine -- This could run into some "BUCKS"!
  • Or a combination of both


BY HAND:
You take your sand and clay and sit there for hours mixing it.. turning it over and over till the clay and sand are uniform and then you slowly add just enough water or oil, so when you grab a handful and squeeze it. It compresses into a thick hotdog like shape. When you open your hand you should see the impression of your fingers in the sand and there's very little loose sand left in your hand, (That's part 1). Then when you 'Snap" it in half. If it breaks clean and doesn't crumble or fall apart; "YOU GOT IT!"

The old "Sand Crabs" as they were called; used to do everything right on the floor. Making long windrows and using a long flat blade shovel, scooping up a shovel full and flipping it over and smacking it down with the back of the shovel after hours of that he would slowly start adding his water or oil and start all over again till it was just right to his hand compression test.

Now doesn't that sounds simple --- "RIGHT?!?!" All You'll need is at least a 150 to 250 pounds made up before you even think about ramming up your first flask.

(Flasks are another topic, but the bigger the part the bigger the flask and the more sand you'll need to fill it. A 12" X 16" X 6" flask will take about 80 pounds DRY weight to 150 pounds WET weight of sand. Figure on getting a medium size garbage can to hold your mixed sand)

BY MACHINE:
The machine to make your green sand is called a MULLER.
They come in all different types and sizes; but what it basically does is compresses the clay onto the grains of sand, (coating each grain of sand with a layer of clay).

A common type is a big heavy walled drum with 2 rotating wheels (Normally 25 to 75 lbs. each wheel), and scrapper blades. The wheels compress the clay and sand together and the scraper blades break it up and stirs it around. After a few hours of dry mixing you then start adding in your water or oil. This can be a very expensive machine to build.

THE POORMANS MULLER:

Another type of muller is like the old style cement mixers:
They have the tub and then a horizontal cross shaft with paddles in it. You might be able to find an old one laying around in some junk yard or check at a cement contractor and see if they've got one they don't use any more. You'll have to modify the paddles and maybe replace a bearing or two, but it's a lot cheaper. Forget about the newer styles with the rolling drum, they turn to fast and the sand/clay mix is just to thick once you start adding in the water or oil.

OK! So now let's talk about the 'secret' recipes that are out there.

Some recipes go by weight and others go by volume and it can get confusing. I had one that went by both ways. You can keep it very simple at the start and after you learn more about it; start adding in the other enhancers such as:
  • Sea Coal
  • Silica Flour
  • wheat flour
  • wood flour
  • corn flour
  • sanding dust from hardwood
  • Linseed Oil
  • marine grade 2 cycle oil
but if you're just pouring Aluminum and Brass it really isn't necessary for most of theses additives.

NOW you have to decide on how fine a surface finish do you want on your casting? Plain Jane ? What ever comes out is fine... or the smoothest finish you can get.

It all comes down to the sand you use. You can get 100g to 175g or higher. The coarser the sand the rougher the casting surface. (There are other tricks you can do, but that's a subject for another page.)

If you want the finest surface you can get then you got a little work to do. You need to find the finest mesh window screen and make a small frame and staple or nail it on then sift all that sand -- Keeping the coarser grain sand for the rough casting and use just the sifted fine grain sand for the better surface quality castings, also check your clay as well, it will lump up if it's been sitting in some warehouse and got damp though condensation it too has to be run thru the screen so everything is consistent.

When mixing your sand you want enough clay to bind the sand together, but not so much that it chokes off the natural venting/breathing of the sand and the same holds true for the water or oil. You want it to feel 'damp' but not wet in your hand. Soak a wash rag then ring it out "HARD"... That's what you what your sand to feel like.

Now you have to think in 'mass'; Example: If you take 25 lbs. of clay and 100 lbs. of sand that's not 25% clay because you have a total "mass" of 125 lbs. so that's only 20% (A good starting point for a blend is 10%), although you could work up to that slowly and keep checking your mix by the hand compression test. (Note: A lot depends on the grade of sand and the type of clay you're using. Fireclay and Kitty Litter is "not" Bentonite clay! They are different and the percentages used will be different. But there are caster that use both.) To much clay and you got 'mud' to little and it won't hold it's shape or do a clean break and to wet a mixture and the clay will wash off the sand and you'll wined up with mumps of clay in your mix; use as little water as possible, a 125 lb. batch will use less than a gallon of water or 3 quarts of 2 cycle marine oil.

Start out by making small batches of 10 lbs. and see what blend works best, then you can make your larger batch. Figure on getting 4 -- 80 lb. bags of sand and 2 -- 100 lb. bags of clay to start with. (This clay and sand can also be used in your refractory mix for lining the furnace.)

If you have to adjust your mix -- remember to do it slowing... never add more than 1% of the 'mass' at a time. Using the above 125 lbs. -- that's 1-1/4 lbs. BUT that might mean only a cup or two -- volume vs weight.

OK, Standard rule of thumb in mixing:
  • Mix dry -- clay and sand till completely blended.
  • You can to add the water by using a small garden sprinkling can or add the oil a little at a time.
  • Add in small amounts then mix completely.
  • Use as little water or oil as possible.
  • Wait at least a couple of hours or more before doing the hand compression test
         in fact waiting till the next day is even better as it take the clay a while
         to soak up the water or oil.
  • Store in a container that has a tight lid.
  • 'IF' your sand has been sitting in the storage container for any length of time --
        remix it and test it before using.


Now here's the simplest recipe I can give you:
  • 100 lbs. of sand
  • 12 lbs. Bentonite
  • 7 lbs. water (about a gallon)
After you've gotten this mix working the way you want it using water and you're ready to experiment try the same mix, but use synthetic 2 cycle oil, (DO NOT use motor oil!!!).
Ams/Oil makes a very good synthetic, you can check out their online store is here.

K-Bond - Oil Bonded Casting Sand
Developed at Kent State.

100 lbs. Sand Using F110 from US Silica
6 lbs. Bentone 34 Made by Rheox
3 lbs. Indopol L-100 or synthetic 2-stroke oil (2 US quarts = 3 lbs)
    Made by BP (or use AMS/OIL or Penzoil smokeless 2-stroke oil)
*0.2 lbs. Isopropyl alcohol (3.2oz or 91grams) *(Note: That's Pounds)
    or 91% Rubbing alcohol

Mix the sand, bentone thoroughly and then the oil. You can do 10 lb. batches by hand with good results. The bentone is very dusty and the sand contains silica so wear a dust mask! Add in the alcohol and mix thoroughly. Done!

The sand will be like cookie dough at first. It will be much easier to handle when it is a day old and will get easier to use with time and use. The sand gets powdery after it sits and it is best to mull it or warm it before use. When green strength starts to fade, add in some alcohol.
http://www.imarketingcenter.com/greensand.html

jeudi 30 octobre 2014

Electrolytic Copper Etching


This wonderful tutorial was republished from Copperheart Designs Blog.   Thank-you Alison.  I hope you enjoy and get to some etching!!  It has been on my short list of things to do.
Michelle Fundametals
As part one of my mission to make my studio practice healthier for me and any future babies, I decided to give electrolytic copper etching a try. It turns out it’s so easy to do I am surprised more people haven’t tried it. I downloaded an article from Art Jewelry about how to do it, but you can also find lots of good information floating around the internet.
Basically, all you need to do is hook up a D battery to two pieces of copper suspended in a saltwater bath. One is the piece you are etching, the other can be any piece of scrap copper. The current draws copper from the etching piece to the scrap copper. You can use the same kinds of resists you would use for acid etching, but you don’t need the etching chemicals. Neat huh?
Here’s what you need:
  • D battery
  • D battery holder
  • Alligator clips
  • Heavy copper wire (14g. is good)
  • Copper to be etched
  • Scrap copper
  • Pure salt (kosher or canning and pickling salt)
  • Plastic or glass container
  • Resist (pnp film, stop-out varnish, asphaltum, etc)
    To get set up, you need to attach your alligator clips to the lead wires on your battery holder. My friend Paul helped me out (thanks Paul!) because even though I know all about silver soldering I know nothing about soldering electrical components. Then you make a saturated salt solution by dissolving as much salt as you possibly can in water.To get your metal ready, you need to get the piece you will be etching really nice and clean by scouring it with a scrub pad or heating and pickling it, then draw your design on with whatever resist you are using. I was surprised when I first started experimenting with this technique to find that the salt water is just as hard on the resist as the ferric chloride was. Permanent marker didn’t work at all, and the sharpie paint pen I used to use for beads works ok but doesn’t last long enough to get a good deep etch, so I am back to using the stop-out varnish (check out my acid etching tutorial for more info on different resists) The scrap copper just needs to be cleaned off with a scrub pad or brass brush to remove any residue, then it’s ready to go.Once your metals are ready, fill a plastic or glass container with the salt solution, then attach your two pieces of copper to copper wires and hang them from the sides of the container so they are submerged in the solution. Attach the positive alligator clip to the piece you want to etch and the negative clip to the scrap copper. You will immediately see little bubbles rising from the scrap copper, and within minutes the water will start to get cloudy and reddish brown with copper (Note: Don’t pour this water down the drain! collect it and talk to your local waste management people about how to dispose of it. It’s not hazardous to handle but it’s not good to put copper into the water supply!)
    It takes about an hour or more to get a really nice deep etch. Depending on what effect you are looking for, you can get a visible etch in about a half hour. I need to do some more experimentation, but my first piece has a visible etch so I consider it a success.
    Overall I am very pleased with this project. It was easy to do and safe, without the mess of ferric chloride and it cost about seven dollars for all the supplies to get started. I am planning on doing a lot more copper etching with this technique, so I should have lots of new etched copper jewelry and beads coming soon!

dimanche 12 octobre 2014

How to: Make a texture roller for clay

This project is instant gratification. Something that is not that common in the world of clay. With this texture roller, you can use it as soon as the hot glue has cooling, which is very fast. It’s a great project to do in a class, or on your own so you have a custom tool that no one else has.
Supplies:
  • a roller of some sort (cut up pieces of PVC, empty rolls of tape, couplings for PVC, plastic rolling pins from the dollar store or craft store).
  • a sharpie.
  • a hot glue gun. They only cost a couple of bucks.
  • extra hot glue sticks.
Draw your pattern onto the rolling pin. It’s easier to work out the pattern before with a Sharpie than it is later with the hot glue. Think about some sort of connected pattern, they tend to have the best results. And don’t go overboard with the lines, you’ll regret it later. And remember that the hot glue line aren’t going to be perfect, so just go with the imperfection.

While you’re drawing, plug in your hot glue gun. Make sure that you do it on a surface that you can toss when done, like newspaper or cardboard. When you’re done drawing on your design, start gluing. Be a bit heavy handed with the glue. If the lines are too thin, they won’t show up on the clay as well.
After the glue seems cool, start rolling away… The first attempt might stick a bit, but after there is some dusty clay on the roller, it won’t really stick.
If you’re not a hand builder, a nice use for one of these textured slabs is in the bottom of a thrown and altered casserole.

samedi 27 septembre 2014

Alcohol Marker Marbling

by Audrie Magno-Gordon

                                             
Use alcohol markers to create a marbled background on glossy cardstock.

Supplies

  • Alcohol markers (Blendabilities Markers by Stampin' Up! used here)

  • Rubbing alcohol or colorless blending ink intended for alcohol markers in a spray bottle (safety note: Ranger Blending Solution and alcohol inks contain resins and should not be sprayed)

  • Glossy cardstock cut to 4 1/4" x 5 1/2"

  • Quarter sheet of text weight paper for a template

  • Ziploc-type plastic bag (empty and sealed closed) or other non-porous surface, such as a craft sheet or ceramic tile

Step-by-Step

  1. Step 1

    Using a tiny bit of removable tape, secure a quarter sheet of paper to your work surface. This will serve as a template. Cover the template with a Ziploc bag. Use removable tape to secure the bag so it doesn't move.

    Begin coloring with alcohol markers directly onto the bag, covering a space equal to the size of the template.
  2. Step 2

    Use a variety of markers randomly on the bag. No need to blend them, just scribble them on side-by-side very randomly.
  3. Step 3

    Spritz the bag with rubbing alcohol until the inks appears to be wet, and droplets of the liquid are visible on top. You will notice that the edges of the colors will start to blend.
  4. Step 4

    Place glossy cardstock glossy side down onto the wet ink. Press the cardstock onto the ink for a few seconds then lift it up to reveal your background.
  5. Use the print as is or repeat this step to add layers of color or fill in missed areas. Mist the inked work surface as needed to revive colors with alcohol.
  6. Step 5

    Use the background to complete a card front or scrapbook page.

Video!

Variations

  1. Plan your coloring to complete a scene. For an impressionistic look to any favorite landscape or nature image, stamp the image onto your work surface underneath the plastic, use that image as a guide for color placement.
  2. Spritz a large stamp with rubbing alcohol and lay a completed background panel onto the stamp. An impression of the stamp will appear in your marbled background. Wash the stamp promptly to remove alcohol residue.

    A similar look can be achieved by spritzing alcohol through a stencil over a completed background.



vendredi 26 septembre 2014

"Gesso-Swiping Dry Embossing" Technique (& more Gesso talk for Jamie) :O)


ETA: Sorry guys, no post today (Sunday). Hittin' the walk in clinic to check up on this mucky lung thang; it's acting up. And I slept in unexpectedly. (Went to bed at 6:00 last night too. Charles just woke me up worried how I could sleep so long, lol.) I'll catch you tomorrow, though, for some Little Paper Shop fun! :O)

(click the pic to see the texture up close)

This one's for you Jamie! You may be sorry you asked about Gesso, heehee. ;o)

The Cuttlebug (or other embossing) technique in this tutorial ("Gesso swiped Dry Embossing") is so easy that it can hardly be called a technique (but it's so fun that i just hafta) You won't believe how fast it is (and no brushes to clean!)

So, Jamie asked What's Gesso?...


The "Short" Answer:

First off, my love gesso of gesso is ineffable. If you tried to take my gesso away forever, I would bite you.I would be all ovah you like a rabid possum! I would rather give up embellishments for life than surrender my gesso. No joke.


Gesso is an artist's primer. In other words, it's like a white chalky paint that makes a flat, or not glossy, tooth (or texture) on the surface of paper, canvas etc... Gesso is also referred to as a "ground." The flat finish it creates lets different mediums (inks, paints, etc.) stick to it. It used to made from animal glue (I believe some gesso still is) but is now primarily acrylic based (Yay for that). Many people use gesso in their art for lots of things other than priming though.


The Long ("Does Mel ever stop talking?") Answer:
The really really really exciting thing is that gesso's acrylic-based nature changes the way inks & markers react with your cardstocks. I've discovered in my mad experiments that Gesso not only creates artsy texture really easily, but it also resists inks and gives you more drying time (...hence more blending time and embossability of S.U. markers & Classic inks. Like in colours with clear embossing powder!!!) It even offers a level of erasability for when you make a colouring mistake!

Sophisticated Layered Looks: Gesso can help you create a palimpsest look--layers of stamping, images, text, collage bits, ... the options are endless. It comes in colours too, but I've only used white.

Simply adding gesso to cardstock in different ways will let you:
The only trick to using gesso is that some inks do not dry on it (SU inks & Tombow markers do not) but CTMH inks do, Copic do, Alcohol ink dries too of course....., so just use the drying inks (Stazon etc) or emboss it. Seems like a drawback but NOOOOoooo. It is Joy with a capital 'jump for'

Clean up: Protect your work surface & wear work clothes. Gesso is a primer so it has staying power. You'll want to clean it off stamps asap, but it comes off okay.

Applications: Use anything! You can scrape it on with cardboard, an acrylic block, a kitchen spatula... you can add it thickly & then stamp in it or roll a stamp wheel in it (that is SO kewl!) Lay lace or fabric in it & pull it off... For brushing it on: different brushes will give varied textures, so it's fun to experiment. It is a good to have one brush dedicated to gesso, since it's harder on them than paint is, but you don't need any brushes for this technique...
(click the pic for an up close look at the texture)

How To Gesso Embossed Paper
(Takes just 2/3 minutes!!!):

Technique Summary:

Step 1) Start with an Embossed piece of Paper
Step 2)
Use a scrap of cardboard to drag Gesso over it
Step 3) Use it as is, or ink it up.

->

Step 1) Start with an Embossed piece of Paper. You could use any paper but the embossing makes it funky. (Put it on a piece of wax paper to protect your work surface if you like. Gesso has staying power.)




Step 2) Use a scrap of cardboard to drag Gesso over it (TIP: Quickly wipe away any globs with your finger or paper towel or whatever.) Then let it dry. It dries almost instantaneously!



Step 3) Use it as is, or ink it up. It'll have a nice texture even when it's white, but you can colour it up with a sponge or whatever. (I found rubbing with a light coloured ink lots gives a nice patina.) This is SU's Sahara Sand.

Optional:
You can sand it and add other colours too. :O)
Other Gesso stuff (that is so fun it should be illegal!)


Gesso Techniques:
(Tired of seein' this yet?)






(Faux Watercolour resist there too)



More Gesso Stuff ...


gesso with a blockspread gesso with block


Thanks so much for letting me rant about gesso again Jamie! ;o)
And
Thank you all for taking time out of your busy days!



P.S. Quick reference:
How to Gesso Dry Embossing:(Takes just 2/3 minutes!!!):