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Magnolia Mud Research

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About Magnolia Mud Research

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    ceramic chemistry

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  1. go Vince Pitelka website: https://www.vincepitelka.com/ http://www.vincepitelka.com/wp-content/uploads/2019/05/Super-Fine-Terra-Sigillata-Edited-2019.pdf his discussion of terra sig is the best I have ever seen.
  2. My first thought is the cracking is from the bentonite. Try no bentonite; the EPK may be enough to control the suspension.
  3. I use epk out of the bag and alumina-hydrate, equal amounts by volume (use a cup); fire cone 10R.
  4. Val Cushing addressed this topic in his handbook. The absorption is some where around a couple percent; think bricks not, not tableware porcelain! There are commercial clay body’s that meet the requirements. LT
  5. I would back off on the titanium. The recipe does not have iron.
  6. a beautiful glaze when it works! was a favorite before I switched to cone 10. ... used to use a glaze similar to what you are using; some times beautiful results, other times not so beautiful with pits, bubbles, and dark spots. the flaws in the pictures you posted look exactly like the failures I was getting. After some effort, it was determined that the root cause was due to poor application and was not related to firing temperature, clay body composition, where it set in the kiln, or what I had for breakfast. The bubbles and burst bubbles were due to trapped air during
  7. The effect is called "breaking"; the glaze melt has a high surface tension and moves away from sharp edges. To find out if the glaze will "break" on your work you need to do some testing by just trying the glaze. For glazes that do not normally "break", wiping the edges gently with a wet sponge to remove some - but NOT ALL - of the glaze will produce something resembling "breaking" but not as strong. Application thickness also is important; very thick application can overcome the "breaking" effect. Test, adjust, Test, ... LT
  8. I agree that it's worth investigating having it repaired. It would likely be a lot cheaper than buying a whole new machine Since different stainless steel grades have different compositions, a good welder will need to know what grade welding rod(s) to use to make a reliable repair. I have seen repair welds in piping and pressure vessels fail due to the wrong welding rods (some quickly, others not so quick).
  9. Add some of the Mississippi mud and/or Mississippi yellow clay to your white glaze an see what happens. I use crushed Texas iron nodules, sometimes calcined, sometimes not. Or sprinkle over the white glaze.
  10. What kind of stainless steel? Each grade has a number; with the number you can lookup the composition; the composition will answer some of your questions on why corrosion takes place. LT
  11. small kilns cool faster than larger ones. The left tile in the second set appears to have NOT leveled before coming too stiff to level. Notice that the bottom segment of that tile is smooth; the top section cools faster than the bottom because that segment has less local mass to store thermal energy. The tiles from the larger kiln cooled slower. Neither set of tiles are over fired; if anything I would raise the firing temperature a bit. The glaze does not appear to be runny yet. Based on the test images I would guess that the small kiln tiles may not get as hot as the
  12. i wedge on the concrete without a problem. Have used concrete floor, concrete stepping stones, and cement blocks; rough surfaced, smooth, and polished. polished annoyingly sticks to moist clay, smooth and rough does not. LT
  13. my experience of TS on cone 10 R stoneware: the fired surfaces feel and appearance depends on multiple variables: the clay (including clay bodies) used to make the terra sig, the clay body substrate, the thickness of the slip applied, the thickness of the application, the compression of the TS into the substrate, the burnishing of the applied TS, the contrast between the fired colors and textures of clay used to make the TS and the clay body substrate, the coarseness of the TS particles (the longer you allow the clay to settle the smaller the parti
  14. when starting with the first use of a glaze I start with a water to dry mix at 60:100 weight ratio which will be somewhat thick. I then add small amounts of water and test application on test tiles, then add some more, ... until the ratio approaches 100:100 ratio. this will involve somewhere between 5 and 10 test tiles. After these are fired and evaluated, I make a choice for the recipe and add the water : solids weight ratio as part of the recipe for that glaze. For some glazes, I have two ratios because the test tiles show significant performance at different ratios. LT
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