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Magnolia Mud Research

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About Magnolia Mud Research

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    ceramic chemistry
    kilns

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  1. my recipe for cracked hands: Never let the clay dry on my hands; wash with Lava soap frequently to remove the clay. I use Corn Huskers Lotion on my hands after throwing to rehydrate the skin. It has no oils so leaves no resisting spots on bisqueware from my handling.
  2. In the college cone 10 gas kiln we have been using a layer crushed oyster shells (obtained at a farm / garden store) to support items similar to spoons. After the firing, the scars at the contact points are polished away after soaking the surfaces in warm water for a few minutes. The shells calcine to lime. Cone 6 firing would also work just fine. I support glazed items of small sea shells and have similar results at both cone 5 and cone 10.
  3. Glaze making is sort of like cooking soup or stew. You first start with a base recipe of specific liquids, flour, meat, veggies, and flavorings. After a short time you begin to change the chicken to sausage, the red onions to green ones, red wine instead of water, and so on. If you like the taste you keep making it, if not you try another mix of ingredients. Glaze making follows the same pattern. Knowing the chemical details can be useful and fun if you are inclined, if not, then just mix a few ingredients together and find out what works and what does not. Susan Peterson's "The Craft of Art and Clay" textbook is a good starting point for glaze making, and "Mastering Cone 6 Glazes" by Hesselberth & Roy is the guide for stable glaze making for 'functional' ware. LT
  4. ”If anyone ran measured effects of heat work, it would be Orton Sr. He wrote several abstracts for American Ceramic Society, I will nose around and see what I can find. The other source would be Ougland and Brindley from the British Ceramic Society: "Effects of a High Temperature on Kaolinite". Tom, please post the complete citation information (author name, article title, journal official name, volume, issue, page, and publication date). LT
  5. 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
  6. are the lids on the glaze containers metal; are you using any metallic containers, tools, brushes, etc. in the glazing steps?
  7. Get in touch with Hank Murrow about fiber kilns. He has been firing in a fiber kiln at cone 10 for a long long time. Check his website for contact info http://www.murrow.biz/hank/ LT
  8. I solve the obvious 'overlap problem' by using adjusting the design of the item by converting the 'overlap' into a decorative feature. some times this requires just changing the location of the overlap by the way I dip the item into the glaze slurry. other times I use a brush loaded with the glaze to make additional 'overlaps' elsewhere. LT
  9. This is a yellow matte glaze I use at cone 10 reduction; I fire mostly on stoneware and some porcelain. thickness will change the color from yellow to faint yellow cream. I have used it for 10+ years without problems. You will need to test your version to see how it responds to your clay body, application techniques, and thickness. feel free to tweak it ingredients & parts by weight: Custer 43 Whiting 4 Dolomite 17 EPK 19 Zircopax 14 Tin 3 total 100 Fe (RIO) 1 LT
  10. The 'sharp edge' needs to be at the edge where the liquid separates from the spout. The photographs show the edge to be rounded. The shape and thickness otherwise appears to be OK. Bill mentioned in an earlier post that he "files" the lip at the bisque stage. It might be useful to bisque one of the pitchers and use it as a prototype by pouring water from the pitcher and filing the edge away, and pouring, etc. until you find the right amount of "sharpness" of the edge. I once made a deep bowl with a big bunch of spouts around the rim, each different in sharpness and thickness. Then after it was fired I could pour from each of them and begin to get some real data on what works and what does not work. LT
  11. You might find some insights to the physics of the tea-pot dribbling phenomena by reading the recently published article (and all of the articles cited therein): I'm a little teapot — Dribble no more: Physics can help combat that pesky “teapot effect” Dutch scientists devised a model to predict flow rate when dribbling will occur. Jennifer Ouellette - 5/17/2019, 5:45 AM https://arstechnica.com/science/2019/05/dribble-no-more-physics-can-help-combat-that-pesky-teapot-effect/ LT
  12. Mary said: “Notice how the clay appears stained reddish from about 1/2" from the bottom up. I'm sure the cups were clean when they went in and not sure where this discoloration is coming from. could it be that the Iron soaked from the glaze through the clay?” try a thin wash of either baking soda or soda ash on raw bisqued area and see what happens. I get an orange stain in high fire reduction; some colleagues have gotten orange flashing at cone 6 oxidation. LT
  13. you might find some leads by doing a cad forum search similar to this : http://community.ceramicartsdaily.org/search/?&q=Podmore "Alsager wheel"&search_and_or=or&sortby=relevancy also: https://www.pottersconnection.co.uk/shop/24/sub_3.htm and: http://www.potters.org/subject18307.htm LT
  14. A wise 3D-printer of ceramic ware will introduce random variations in her design code; every mug made on the printer will be unique! LT
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