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  1. Great illustrations! What would be nice to know if the illustration and the furnace geometry were to scale. I speculate, no. What is not explicitly stated in the text is the exact location where colored glass is added. I would not expect this to be divulged, since it could be a matter of trade secrecy. What we do have from 25 is: "and could be put in different places in the flow-tank of clear glass." This tells us that the location placements were selected to give different results. -- One thing that has to be considered in the furnace are convection currents. These currents "mix" the glass and can alter planned outcomes. Depending on the furnace geometry (length, width and depth), heat source locations, refractory design, etc., there can be multiple loops. In other words, when you place glass in the furnace at far end away from the nozzle, it doesn't travel in a straight-line. I speculate the fill-in slabs are placed to alter convection currents. Probably determined from experimentation. Great stuff! -John
  2. When making marbles, it is about statistical distribution of outcomes. The lawsuit documents discuss how Master added color to the glass without the benefit of a controlled injection like the Freese patent (Akro). What I have not seen are the visuals showing where Master added their color to the clear base. Molten glass has to behave under the laws of physics (thermodynamics, fluid dynamics, etc.). I speculate that the color was added in the same location at consistent intervals nearest the forehearth nozzle. The shorter distant will equate to lesser time that the glass is subject to heat and interaction with adjacent streams. I would expect that Master experimented with their setups and runs and noted outcomes. Those outcomes they liked, they reproduced. Placing a color glass further away from the nozzle exposes the color to longer heat time, which may result in changes to color intensity (dense opaque to translucent to totally disappearing), and shade shift (red to brown). Add two colors together and the more time they have to swim together, they can "blend" or "mix" together. The words "blending" and "mixing" can be trigger words. Especially when it comes to colors. Chemical reaction between two colors can occur at boundary layers. Consider the dark color between the blue base and red or yellow ribbons on a Peltier Superman. Here's a video to make you think: In the end, we don't know what exactly Master did to get their desired outcomes. Only "thoughtful speculation" is what we have. John
  3. No, mechanical graining of plates is different. Graining is to provide a uniform rough surface for ink to adhere. A smooth plate would allow the surface tension of the ink to "ball up" like a bead of water on a leaf. The rough surface allows the ink to wet the surface and lay evenly. https://www.polymetaal.nl/beguin/mapg/graining.htm John
  4. Ball graining printing plates: http://valeriesyposz.blogspot.com/2012/05/blog-post.html?m=1 https://www.google.com/url?sa=t&source=web&rct=j&url=https://m.youtube.com/watch%3Fv%3DZgY4w9e2GRQ&ved=0ahUKEwjnw__FltHiAhUEUKwKHZNVC5YQo7QBCC8wBA&usg=AOvVaw3BOc1mnXkHW-AU12xUZFbk John
  5. Fred, Welcome! That "pontil" mark looks like it was made with a diamond shear. The 1-1/4" diameter size is about the right size for a Chris Robinson "Road & Tunnel". However, without seeing it in person, I may be wrong. If Chris pops in, he would be the best judge of his work. Reference this thread: https://marbleconnection.com/topic/23119-rare-road-tunnel-slag-on-ebay/ John
  6. Marian, Plan on going. Chad puts on a great show. There are many people that collect and sell marbles that do not post on chat boards. You will find many great people at shows that are willing to share their knowledge. It s nice for you to actually see and hold a marble to discuss and purchase (unlike online auctions). There are two presentation venues at most shows. During the week, people setup their marble collections and wares in their hotel room. It is fun to walk from room to room looking for that "something special". Then, at the end, everyone sets up in the hotel ballroom for an official show. Fewer things are on display, but it is a nice time to say your "good byes" and make one last purchase before hitting the road home. If you come to the KC show this weekend, you'll see many of the same faces at Des Moines. Bring a strong flashlight (hotel rooms are dark), a magnifying lens (for old eyes) and plastic calipers to measure (metal can scratch glass). The first show is very overwhelming. Each show gets easier as you meet people and get familiar with things. Wishing you the best, John
  7. Photo by Zaboo. Marbles and Box by Bo Stiff. Bag by Sue Cooper. John
  8. I can't say if Bo was the first, exclusive or one-of-many that made Micro or Mini Popeyes. What I think he did best was making mini Popeye Box sets. I believe Sue Cooper sewed the mini bags for him. Maybe Steph can find some photos. John
  9. Alan, Thank you. I was hoping that you saw Dan Ambrose make them with a copper pipe. Like a personal witness to history. I remember hearing stories of people doing marble making demos in hotel rooms with carpet. I think those are the "good ol' days"? John
  10. Alan, That is neat. Never seen the tube used before. Just to be clear, are you saying that is how Dan Ambrose made those or how you saw another artist make theirs? I've seen (and made) them using the cane/drip technique and murrini technique. Never used a tube. Bo Stiff made awesome popeyes. Maybe someone saw him make those and would comment. Thanks! John
  11. My condolences to family and friends. Whenever someone passes, I like to read their old posts. It never fails to bring a smile. I got a chuckle with his joke about 4 marble collectors in Cambridge. Go look and enjoy his posts! John
  12. Corundum mill balls are molded and heat fused for strength (sintered). The molding process leaves a ring around the equator. This ring wears down/off as it is used. https://www.unionprocess.com/grinding-media.html#nonmetallic This is just speculation, but I looks as if someone attempted using enamels to decorate the surface. https://thompsonenamel.com/ To make the powder enamel stick to the surface, it is mixed with a wetting agent to become like a paint. The lack of surface porosity of the ball mill resists the attachment or even spreading of the enamel paint. Hence, the splotchy appearance. Once painted, the ball is placed on a 3-point stand (trivet) and then quickly kiln fired. Or just placed on a kiln shelf with release or on a kiln shelf paper. As always, your mileage may vary. John
  13. Like your other marble, I believe this is a Cuneo Furnace (Steven Maslach). https://www.worthpoint.com/worthopedia/cuneo-furnace-handmade-marble-steven-maslach-16 John
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