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Pieter Mostert

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  1. It looks like the proportions in first one are correct, but it's been normalized with Al2O3 = 1, instead of the sum of the fluxes = 1.
  2. Are you sure the tests didn't involve glazes in slight compression? I would think that, given the relative thicknesses of glaze and claybody, the compressive force exerted by a glaze on a claybody would be minimal. I did a bit of digging, and came across this Alfred Masters thesis by Jennifer Benson. After skimming through this, it's still 100% clear to me why an increase in the compression of a glaze should increase the strength of the ware (up to a point), but I think it may be due to the fact that this reduces the likelihood of cracks originating in the glaze.
  3. A non-crazed glaze is (probably) not under tension, and may be under slight compression. But if the glaze is under compression because the clay-body contracted more than the glaze, wouldn't the clay-body be under tension? I've also heard the claim that glazes under slight compression strengthen ware, and while I don't doubt that it's true, I can't figure out why this is.
  4. I'd love to hear what you learned. It's unlikely I'll have the opportunity to build a reduction electric kiln in the near future, but I'm still interested.
  5. If you want to start with a solid cube with 40 cm sides, you'd need over 100 kg of clay (assuming the density of clay you're using is similar to that given here). I suggest starting with a shape that's more like a box with thick walls. With 30 kg of clay, you can make a cubical box with 40 cm sides and walls 8 - 9 cm thick. This will also make it easier to join the separate pieces of clay together. Having groggy clay helps, but I think you'll need to be very careful about how you dry the pot to stop it cracking.
  6. I wonder if a higher temperature simply makes the ink less viscous, allowing it to penetrate the cracks better, even if they're narrower. This link doesn't specify what type of 'ink black' they're measuring, but it shows a dramatic decrease in viscosity between 20 C and 50 C: https://wiki.anton-paar.com/en/ink/
  7. If the clay body expanded more than the glaze when heated, it would shrink more than the glaze when cooled, so the glaze would be under compression, and wouldn't craze.
  8. I've found that heating does the opposite. In one crazed vase I have, the cracks disappear when you soak it in hot water, but then reappear once it's cooled. This makes sense to me, since there's no tension in the glaze at the temperature that it solidifies, but then the tension increases as you lower the temperature, due to the difference in thermal expansion between the glaze and body. So heating the pot should reduce the tension, and therefore shrink the cracks. But you aren't the only one who suggests heating a pot expands the cracks; Nigel Wood talks about this in his book on Chinese Glazes.
  9. That last tile looks like a nice fake ash glaze. If your aim is to work with mostly local materials, you could try replace the Whiting with washed wood ash, but that's a whole other rabbit hole.
  10. I came across this project recently: https://github.com/ZachJMoore/smart-kiln-web-interface Remote control, monitoring, and logging of your firings. What more could you ask for?
  11. Mary, Ian Currie published his book on the grid method under a Creative Commons licence, so you can obtain a free electronic copy here.
  12. Curt, I gave a description of the tile in my last post: Silica increases from left to right, and Whiting increases from top to bottom. So it isn't a Currie grid, but the bottom left corner still has the most flux. This is a useful test when your starting glaze doesn't have much clay, but has relatively high alumina. Mary, I fired the tile flat. This is not an example that shows increased fluidity, but I can dig up some if you're interested. I should add that the results of firing flat vs vertically can be fairly different. There's some discussion in the Currie thread about how to get the most info from flat tiles, including some indication of fluidity. By the way, the reason Insight gives different UMF numbers than what you calculated is that it doesn't include iron as a flux. Glazenerd, I haven't heard of iron being involved in shivering. I thought lithium was the main suspect.
  13. That's not always the case. I've done several line blends (at cone 4) where I just added increasing amounts of Whiting to a glaze, resulting in an increase in fluidity, up to a point. If you keep adding Whiting, sooner or later your glaze will become underfired, since Whiting on its own has a pretty high melting point. What sticks out for me from the Insight analysis is the high UMF value of alumina. Have a look at the glazes plotted here (you can refine them to show only cone 6 if you like. I assume that's what you're firing to). There aren't many with Al2O3 as high as 0.99, and most of those that do, have high KNaO. Adding Wollastonite will bring down the Al2O3 UMF value, in addition to increasing to Al2O3 : SiO2 ratio and getting the flux ratio closer to 0.3 : 0.7 (Insight rounds off the numbers). But it might be more informative to do a biaxial test where you add both Whiting and Silica. I've attached a test I did where I increased Silica going left to right, and increased Whiting going top to bottom. I'm not claiming you'll get a stable glaze this way, since I think Matt recommends some boron for cone 6 glazes. But I also think the tests he did on stability didn't involve iron, so I'd be reluctant to extrapolate from them. I should point out that I haven't taken his course, so I could be completely wrong about this.
  14. This is great! I made a similar form using google sheets, but it's almost impossible to use on my phone, so hopefully something like this will work (I haven't tried this on my phone yet). Do you mind if I fork your repository to adapt it to my version? You can find my spreadsheet here: https://docs.google.com/spreadsheets/d/11WFZMq3A6ZtTCneMBRO_5DCOBuNJ3SICMvPkA2YtgB4/edit#gid=0 Actually there are two versions. The second one uses a two-step procedure for when it's impractical to weigh the glaze.
  15. Joel is right. You've probably seen this in recipes that came from Glazy, which used to describe certain ingredients as theoretical, although this seems to have changed recently. The problem is that some recipes just call for something like 'potash feldspar' without specifying which brand. In order to work out the Seger formula for that recipe, you need to know (or make assumptions about) the composition of oxides in each ingredient. 'Theoretical' potash feldspar just meant that the composition of pure, i.e. "theoretical", potash feldspar was used to crunch the numbers. In practice, think of it as a warning that your brand of potash feldspar (or whatever) may give different results than the brand used by the author of the recipe. (Also, don't trust the given Seger formula 100%)
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