Jump to content

Magnolia Mud Research

Members
  • Content count

    356
  • Joined

  • Last visited

  • Days Won

    7

Magnolia Mud Research last won the day on July 16

Magnolia Mud Research had the most liked content!

Community Reputation

173 Excellent

About Magnolia Mud Research

  • Rank
    Advanced Member

Profile Information

  • Gender
    Not Telling
  • Location
    Texas
  • Interests
    glaze chemistry
    kilns

Recent Profile Visitors

3,050 profile views
  1. New Forum

    An operator's manual would be nice.
  2. Pkqw: Week 23

    1,2,3,2
  3. Do I Fix My Damaged Sculpture Before Or After Firing?

    When repairing work with slip, I make the slip from the same clay body. Some time this requires drying some of the clay to bone dry to use to make the slip. To hurry this up I pound out slabs around 1 mm thick and dry with a heat lamp, then crush the slabs in a dry blender. lt
  4. Do Glaze Materials Age?

    Some of the raw materials will become 'hydrated' after prolonged exposure to high humidity and will begin to 'cake' and become 'lumpy'. Carbonates are especially prone to this. Feldspars powders if wet for long periods can become "cemented" together by hydrates and carbonates when the water is evaporated. The main problem to a glaze is the 'lumpy' effects on application and a longer time required for melting. Crushing the lumps is not difficult if the lumps are first separated from the fine powders. Many of these materials can be dried by either calcining in a bisque firing (zinc oxide is one) or just heating to about 120-150 C for a an hour or so. After calcining separate the lumps by sieving. I have learned to screen the dry ingredients with a flour sifter or putting them in a dry blender for a few minutes before weighing. My motto is if you don't put lumps in the glaze slop you don't have to worry about getting them out. lt
  5. Translucent White Glaze. Can It Be Corrected?

    I reread the original post and noticed that the glaze recipe resembles a clear Raku glaze that I use at school - just a mix of Neph Sy and Gerstley Borate. I add Zircopax to produce a white Raku glaze -- yes, it crazes in Raku. A similar NS-GB based clear glaze has also been used at cone 3, cone 5, and cone 10 just by changing the ratio of NS/GB ( all in gas kilns). [i have also used straight GB as a clear glaze at cone 10 (gas and wood kilns only)]. In effect you would be substituting boron oxide for zinc oxide as the "flux". With a bit of simple arithmetic the whiting amount can also be adjusted. Or just do some line blends with the original recipe without zinc by adjusting the Whiting, GB, and Neph Sy levels until you get what you want as a clear at your firing temperature. [a Currie type grid approach might be useful here also]. If you are up to the experimenting and testing for crazing and durability you might want to consider this approach. N.B.: The intended functionality of my work is decorative, so some of the criteria of success - such as glaze crazing and durability - are likely to be different for a potter making food service items. LT
  6. Soldner Mixer Drum Repair

    That cinder block was invented to do just that.
  7. Translucent White Glaze. Can It Be Corrected?

    a similar glaze at cone 10 uses zinc. I left it out by mistake during a series of tests. not a noticeable difference. As the Alka-Seltzer ad use to say: "Try it! - you'll like it. " well at least try it. lt
  8. Moon Jars - What Are The Rules To The Form?

    The form seems to be approximately a sphere sitting on a small foot ring and an equal sized neck on the top. I'm guessing the diameter of the foot ring / neck is between a fourth and a third of the sphere diameter. (close to the golden ratio). lt
  9. Judith asked: Just out of curiosity, do you use a mirror to throw now, so that you can see the shape you're making? No. Tried that - sort of - and concluded it required too much mental overhead. The side opposite the position you are using to manipulate the clay is the least distorted from the final form, the sector you are manipulating is the most distorted. The sectors between the most and the least distorted are just distorted. Some clay bodies are extremely elastic - porcelain for instance - others are not very elastic. I just use the area least distorted and go with it. lt
  10. Pkqw: Week 22

    2,4,3,1 lt
  11. ... best advice: "That's nice, now make a hundred just like it". ... worst advice: "That's nice, now make a hundred just like it". I started on the hundred mugs as advised. After about 40 or so I became very bored as each mug looked just like every other mug and boredom is a signal for me to move on to something different. Seriously, The advice that has been the most helpful was: "Pay attention to what you are ACTUALLY doing, not what you THINK you are doing; then you will learn what to do next time". There is a difference, and when you finally realize what you are actually doing, you will have reliable data supporting your efforts to make changes; otherwise you are just engaged in wishful thinking while making a mess. The advice came when I was trying to throw cylinders but was making bowls. Multiple times I focused on pulling the wall of the cylinder straight up; every time it produced a conical bowl - even when I used a straight rib on one side as I pulled the clay upwards. I tried again, and realized even though I was pulling the wall straight, it was straight to my eyes, and since my eyes were located on one side of the wheel the form was an open cone, not a vertical cylinder. The solution was to place my eyes in the correct place and the walls came out correct too. Later I learned to look at the side of the pot on the side of the wheel away from my hands to watch the clay move into the form I wanted. lt
  12. I solved my off the hump trimming issues by trimming the pot with a knife made from a sharpened spoon just after the pot is removed from the hump. Hold the bowl in one hand, trim with the tool in the other hand, and set it down. Except wiping it with a sponge at leather hard, I am done with it when I set the bowl aside after cutting it off. lt
  13. Pkqw: Week 21

    4,4,4,4
  14. Coconut Oil To Reduce Clay Buildup On Tools.

    I use boiled linseed oil for most of the wood tools. Recoat them about once a year depending on usage. The treatment is for long term durability (water caused swelling) rather than clay buildup. It does impede adherence of wet clay by sealing the pores. For a while I kept a large wet sponge attached to the work table at the wheel. Wipe the tool against the sponge when needed. When not at my setup I use the apron or a towel on my lap for wiping the tools. I have found that much of the 'cleaning' is not necessary other than the neatness impulse to morale. I now clean tools only when the tool's performance requires it. some tools need to be clean only for special effects, others never need cleaning. lt
  15. Clay Shrinkage

    Jerry Rothman developed a clay body around the 1960's that did not measurably shrink going from wet to fired. I used it a while back; the clay came from Aardvark as I remember. It is groggy, but took a porcelain slip at leather hard and bone dry stages and fired to a smooth surface. Jerry sometimes worked as a sculptor and has been quoted as saying "modern clay does not have to shrink!" (or something to that effect). LT
×