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  2. Show us a picture of what you are seeing. best, Pres
  3. Now that the MAGMA product is in my arsenal, I'm thinking different ways to use it. Do you think it would play nice in a HVLP spray gun? I'm thinking about using it to float wood ash or my iron wash and spray a light coat over glazes. You'd certainly want to clean the gun well after each use and getting the mixture to the right consistency would be critical. I'm just wondering if anyone has already tried this. If not, I'll let you know.
  4. Sorry Bill, I broke my two cup rule. Never answer questions until I finish the second cup. As I recall: one study was done in Brazil , one in India for their Government, and one in Germany? All three used gradient kilns with 6-10 chambers and 10-15C variation between chambers. The one in India was testing laterite, and reported an exothermic reaction at 2050F. The study in San Paulo? Actually used bars in various thickness 1/4 to 1/2 in a multi chamber gradient kiln: that studied produced the time of heat absorption and release at 2050F: conduction being the focus as I recall. The one out of Germany was studying local materials, and reported the reaction at 2050F. So 2050F spinel to mullite temp has been confirmed numerous times. U of I (Champaign/Urbana) has numerous studies up on their Ceramic Technology site. I posted a link in one of my ramblings somewhere : stoneware study thread I think. They used X-ray diffraction to analyze heat work and the phase changes in potassium and sodium. At 2190F, sodium and potassium are spent- no longer visible. I cannot confirm this: but I suspect this is where the commonly used 2190F peak with hold firing cycle came from. Orton Sr. Did extensive studies back in 1909-1919 range(?) noted in my Nerds Firing Schedule thread. He proposed the 108F ramp speed for several reasons: primarily to burn off inorganic carbons, secondly for heat work purposes. As you well know, cones are based on Segers work, but Orton did the initial testing on calibrated heat work. did I answer them that time, or do I need a third cup? Check my Stoneware study thread, Nerds Firing Schedule thread, and possibly my Porcelain thread. I have links to studies floating all around. I do know some studies are no longer accessible: Wiley Library has been buying them up and archiving them. Tom
  5. I realize this topic is 6 yrs old, however, as a local potter who took classes and went to night school for ceramics as well, albeit without a degree, if I had had all the technicalities dumped on me from the beginning and the strict guidelines, it would have killed any desire I had to enjoy clay. I think the first things to establish are, how do you like the feel of clay in your hands, moving on to experimenting with it to see if you like it well enough to take serious classes, and then college courses where you spend time on how to and when to and why. And by the way, there are many correct ways of getting from point A to point B depending on how you perceive it. I don't think strict rules do or should apply in the world of art. Clay and it's manipulators are constantly evolving. I began at age 56, I will be 76 in August. I love it, I've sold it, I have to have it and to keep making , but I do it my way, always trying new things and I'm still enjoying my passionate and very personal relationship with clay. All this is to explain that a one or two week clay class is to allow who's taking it, to see if this is something they want to pursue, whether for pleasure or profit.
  6. “Several universities across the world have done studies using X-ray defraction to measure heat work in gradient kilns. The general consensus being that it can take up to 30 minutes for the atmospheric temperature to reach the core of the clay body in the 3/8 to 1/2" thick range. “ I am good with the process my question goes to the X-ray diffraction analysis and rates. Most kilns I come across are gradient to some extent but you mentioned rates and thickness and confirmation by analysis. Two part question: Did the analysis differentiate between convection, conduction, and radiation, and if yes to what extent did these thermodynamic processes differ in the efficiency of warming the bodies so to speak. ( Just curious for my relay / shelves project and mass reduction) The rate of 108-125 degrees in the final 250 degrees is needed for an Orton cone to bend at its prescribed temperature. I was just curious if this was their recommended rate based on the diffraction analysis?
  7. Today
  8. Bill: Clay goes through three endothermic (absorbs heat) phases, and one exothermic (releases heat) phase. 200-250F atmospheric moisture is driven off. Potters already know what happens when they blow through this ramp too fast. The reason most controller programs have a hold at this temperature. 573C/ 1064F quartz inversion. Pottery books explain this as alpha quartz converting to beta quartz. The technical aspect: at this temperature kaolin becomes metakaolin. Metakaolin is a fancy word for: all molecular water has been driven off. What is missing from the explanation is: silica (quartz) expands at this temperature: the reason bisq is so absorptive. However, molecular water begins to be driven off at 1030F.. So you have two processes going on at inversion: silica is expanding, and kaolin is shrinking because molecular moisture is being driven off. Porcelain is typically 50% kaolin and kaolin can have up to 15% molecular moisture. The high silica content of porcelain is expanding, at the same time the high molecular moisture content of kaolin is shrinking: which explains why porcelain bodies are much more susceptible to dunting at inversion. At 950C/1745F metakaolin begins to convert to spinel. Spinel is composed of alumina and silica: with excess silica being ejected as crystallyttes. The spinel conversion is what gives bisq its mass: sodium and potassium begin to melt above 2000F. The safety police get bent out of joint over many things pottery related: but in my opinion bisq is the most dangerous respiratory stage of pottery. As mentioned before: at 1730 metakaolin converts to spinel. When spinel forms, it ejects excess silica in the form crystallyttes. That white powder on bisq is almost pure crystalline silica in the 30,000 mesh range. Which is why I wash bisq straight out of the kiln; actually I converted to single fire a few years back so I would not have to deal with it. Let the glaze absorb it. At 2050F is when spinel begins to convert to mullite: the only exothermic change clay goes through. Like quartz inversion, several things are going on at one time. Potassium begins to melt at 2012F, sodium begins to melt at 2044F, and spinel begins to convert to mullite at 2050F. Sodium and potassium convert from solids to gas as they melt, which are the source of pinholes and blisters. As mentioned earlier: it can take up to 30 minute for the atmospheric temperature to penetrate a 1/2" wall. When you fast ramp in this upper temp range: your glaze might melt, but the core of the clay body is still immature. This equates to higher pinhole problems, and higher absorption rates. The slower you ramp above 2050F to cone 6; the more mullite develop occurs, and spars off gas better. This all reverts back to clay chemistry: porcelain bodies are held to a 4:1 SiAL ratio to: 1. Achieve maximum mullite development. 2. Minimize the amount of crystallytes produced. We only see the crystallyttes on the surface after bisq, the core is filled with them as well. Again back to clay chemistry: spar addition are there for glass content development, but also there to absorb crystallytes into that melt. If a clay body is not mixed according to certain parameters: you can fire it till he'll freezes over: it will still weep or absorb water. the final note is above 2230F. If the flux levels are off, and silica is too high, and alumina too low: crystallytes will not be absorbed into the melt. Free crystallytes then convert to cristabolite instead of mullite. You will know if that happens around 450F (cooling) and strange pinging noises are coming from your kiln during cristabolite inversion. As porcelain is more prone to quartz inversion due to its kaolin and silica content: stoneware is more prone to cristabolite inversion due to its much lower flux content. Porcelain typically has 25-30% flux content! and stoneware only 10-14%. Tom
  9. Wondered if anyone has used jiffy pots (the seed starter pots) as clay forms? I will be working with little kids this summer and I want them to experience making a pot that actually looks like a flower pot but wasn't sure if It would release the clay. i know it will wick away some of the moisture but don't know if it will hold up. I'm a volunteer at a local art studio and would love to hear from someone. Thank you
  10. howare you drying them? how are you trimming them?
  11. My dream was to build my own kiln for wood firing for high temperatures stoneware. Step by step, year by year, first the shelter then foundations. Now is high time for building the kiln itself. I've just started. You can see the design and some pictures below. I would be grateful for your comments and concerns. This is my first kiln and I have a number of questions and uncertainties. For example Shouldn't the ceiling arch be closer to regular circle or catenary? I use clay with grog and high alumina hard bricks. Should I use any extra special mortar for the arch? Is the chimney sufficiently wide? Pawel
  12. After bisque fire, the base of my plates are still flat but after 1280* fire (with glaze) the bases all rise up as if someone pushed up under the centre of the plate. Using stoneware clay, and suitable glaze. This has happened a few times now. Any tips?
  13. Looks like pretty decent correlation to 108. - 120 degrees per hour in the last 200-250 degrees of firing practice which generally gets your cones to bend on rated temperature for the given rate column for general wares. Anything unique with later fire conduction influence as convection becomes a small fraction with respect to the X-ray diffraction analysis?
  14. Un loadfed two kilns this week and have dispersed most of it. I'm taking a break from clay some (still putting in a few days a week) in next 6-8 weeks. The last remodel project is starting on the house .Its a big one -but only one room-the main bedroom. About everything one can do to a room-
  15. I am a beginner in the field of glazing , i want to make some tiles and i heard about a technique called cuerda seca mostly used on tiles work. i searched alot for the recipe or formula for the material used in this technique to be applied by silk screen but can’t get what am looking for, just found one product called artistic line resist but unfortunately it couldn’t be delivered to my country. so please if anyone could help me with that i will be so thankful, all i know about this material that it contains a bit of wax
  16. For wood fire box areas you NEED hard brick . Most folks who build wood fired kilns use 100% hard brick due to the fact that they last. In the areas aways from the wood you could use IFB like K26 or K28. Youi will find in heavy use or higher heat areas K23 will spall over time. You can use fiber to back up any of these materials for insulation. If the wood heat source is distant fiber can work as well. In all the years here (in this forum and elsewhere ) I have seen folks try lots of things that are not standard either to save money or they have a better idea.The outcomes are predictable. Heck I'm one of them-I build a salt kiln with hard brick ,soft brick and fiber roof. I learned where the limits are. I did not try this to save money (except for fuel costs) I did learn a bunch and after building that kiln and firing it 10 times and thats after building 10 kilns so thats saying something. Now the other factor is how much one will be using the kilns they build-once a year -every week or something more or less. You can dig a pit and fire clay but theres not a huge market for sale items from that pit. Whats the intended long term plan for firing?? Many factors to consider. If you have time and are resourcefull used hard brick can be had cheap.I just saw a few pallets on facebook marketplace last month near me for 1.50$-to 2$ a brick depending on how many you bought .
  17. Educational Post Firing Schedule Variables There are several key issues that effect the final firing schedule selected. 1. Functional or Non-functional use. 2. Wall thickness: thrown or hand built up to 3/8". Structural starting at 1/2" up. Sculptural with varying thickness/ parts. 3. High iron/ carbon bodies vs. white body. 4. Single fire vs. bisq. For the bulk of most firings; functional or non-functional and single fire vs. bisq fire comprise most firings. The additional variable is how thick are these pieces? Several universities across the world have done studies using X-ray defraction to measure heat work in gradient kilns. The general consensus being that it can take up to 30 minutes for the atmospheric temperature to reach the core of the clay body in the 3/8 to 1/2" thick range. In order for clay to fully mature, this variable has to be included in the firing schedule for functional wares. Absorption rates increase, COE values can change and firing defects such as pin holing, blistering, and shivering can be attributed to firing schedules. Sodium (Nep Sy) is the flux of choice in the USA and Canada; and is commonly used in other parts of the world. It is a cheap body flux but it does create issues. Sodium begins to melt at 2044F, and potassium at 2012F, as the clay is converting from spinel to mullite at 2050F. In application; at the same time sodium begins to off gas vigorously, the porosity of the clay is beginning to close up. Extending the time climbing to peak temperature allows the feldspars to completely off gas; thereby resolving pin hole issues while maturing the clay. Selecting a preset ramp speed or programming your own depends upon the clay body, piece size, weight, and foot ring contact. In addition, starting at single fire or from bisq also decides ramp speed. Pieces with wall thickness above 3/8", heavy pieces above 7lbs, or pieces with large shelf contact such as platters need slower ramp speeds to allow for even heat distribution. Slower speeds during the quartz inversion range is also advisable for large format pieces Quartz inversion occurs at 573C (1064F) when quartz changes from alpha to beta phase. Silica (quartz) actually expands at this temperature: part of an exothermic reaction. Just prior to this phase change and to just above this temperature: molecular moisture is being driven out of the body resulting in overall shrinkage. These two processes are occurring relatively at the same time: overall shrinkage from the loss of molecular moisture, while silica is expanding during inversion. If pieces are heavy enough, have weight, or have large shelf contact such as platters: cracking can occur. The remedy for this issue is programming a 100F per hour climb from 1000 to 1100F before resuming higher ramp speeds. You can actually increase firing speed to 180 to 270F an hour if firing porcelain or white stoneware. The overall size and weight of the piece may still justify a slow ramp cycle once you pass the inversion temperature range. Wadding, sand, or alumina may be placed under large/heavy pieces to facilitate movement during the firing cycle. Dark and red bodied stoneware produce buff, terra cotta, and brown bodies that potters love. While they produce warm toasty colors, those colors come from iron disulfide. (Pyrite) in addition, lignite coal particles are common contaminants. Both sources of sulfides require special firing cycles to prevent blistering, bloating, and carbon coring. Inorganic carbons burn off from 1250 to 1750F, and require heavy oxidation during this temperature range. Rather single firing or bisq firing: programming a slow cycle of 108F an hour (slow speed) from 1250 to 1750f an hour while oxidizing the kiln is required. If single firing; you are simply programming a bisq fire, while incorporating the final ramps to peak temperature. If firing large, heavy, or large foot ring pieces: then adding a quartz inversion cycle is required. If firing dark or red bodied stoneware; then programming a slow ramp (108F) from 1250 to 1750F while oxidizing the kiln is required to avoid blistering, bloating, and coring. Once you reach 1800F in a single fire, then you can increase ramp speed to 180 to 270F until you hit 2050F. At this temp, speed is then reduced to 108 to 125F an hour to allow escaping spars to escape before the clay body vitrifies. University studies from around the world all report an endothermic reaction at 2050F as observed by X-ray defraction. It is a key reaction temperature in the firing cycle; when the porosity of the body begins to close rapidly. Most clay bodies in the USA and Canada use Nep Sy (sodium) as a body flux. At 2044F, sodium becomes reactive and off gasses vigorously; which appears as pin holes in the glaze. Rather single firing or starting from bisq; slow ramping from 2050F to peak hold allows the extra time for off gassing spars to dissipate. Recommended ramp cycle from 2050 to 2232F is 108-125F an hour. A commonly used peak temperature is 2190F with an extended hold: use the recommended ramp cycle for this program firing. This slow ramp cycle towards peak range also has the added benefit of extending element life. Tom
  18. Do you see the specks on the unglazed foot ring, or just the glazed part?
  19. Yesterday
  20. Right now 40 jars sitting in the shop waiting for honey/spoon lids, 26 in the kiln, Mug throwing next week 75 for the order, probably get them thrown on Tues & Thursday. Recycling thawed out clay is rougher this year, but doable. Now use a heavy wiggle wire to cut bread slabs, spray and slam. Used to put finger holes in the slab, this is quicker and easier. Wiggle grooves hold water well. best, Pres
  21. I've been using some leftover scraps from "Construction Plastic". It's what contractors and such put up, to protect against dust getting out of the work area, to catch paint drips, etc. It's thicker stuff, and keeps the moisture in quite well. It's been so rainy here lately, that my basement stays pretty damp itself. If I just poured some plaster on the floor, it would be one big damp box.
  22. Rust particles (iron) can be all over many surfaces. Check your clay cutting wires-jar lids -vacumme the kiln again as well as the bands around the lid and the lid. It would also help by doing your elemnts with a soft brush on the vacume as well. Seive the glaze-Just think like a small ruct particle . I would also test a pice of clay unglazed to see if the specks are in that body as well in a fire. Since you are using a commercial glaze you have ZERO control other than sieving it. The finer the screen the better for those paricles look really small. looks like rust to me.
  23. are you adding any water to the glaze? Check to see if the iron (or other trace elements) content has increased since you last had pure white glaze. Our water system is having its routine "flushing" for cleaning the distribution piping from corrosion sediments. LT
  24. If putting the glaze through an 80 mesh sieve doesn't solve the problem I would contact Laguna. Let them know everything you've done to solve the issue, glaze and clay batch numbers and your results.
  25. 203 boxes of miscellaneous glazes 24 - 4 oz jars per box need gone quickly. FREE, FREE, FREE Barrie, Ontario
  26. Sneaky? I thought is was rather overt myself. Besides, it is viewership round up month. premium porcelain is 50% grolleg, 25% silica, and 25% Nep Sy. + 2% macaloid (Bentone ma) this is the fix it mix. If you do not have grolleg, then use EPK. EPK will diminish translucency a bit- your call. how much fix it mix you add is directly proportional to the amount of water you use throwing, which equates to how much fines you lose. So you have to make that judgment. For a gallon full of dried reclaim 1/8-1/4 cup of fix it mix will work. Most of the members post pictures of their work in the gallery. I am limited where I can post mine.
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