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Magnolia Mud Research

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About Magnolia Mud Research

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    Texas
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    ceramic chemistry
    kilns

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  1. The "test slabs" are interesting forms and prints. well done!!! LT
  2. In the water the dissolved materials are ions not sodium borate, or whatever. The mineral ulexite, because of its low solubility well drop from the solution, assuming that its solubility product is the one that controls who must leave the pool first. LT
  3. The precipitation depends on the solubility product constant of the sodium calcium borate hydrates in water relative to the all of the other possible combinations of the sodium, calcium, hydroxide, and borate ions. The route you referenced is not a reasonable one for Babs because she does not need chlorine in the mixture. What is needed is a clean combination of sodium, calcium, and borate ions. Adding other ions become problems in the glaze mixture. If I were going down the road Babs implies with her question, I would just add borax, lime, and boric acid and not worry abo
  4. Neither, I was serious. sodium borate, lime, and boric acid are each soluble in water. Ulexite is a Calcium Sodium borate crystalline mineral that is only slightly soluble in water. The expectation of a white haired chemical engineer is that if the three solutions of sodium borate, lime, and boric acid were mixed together in the right proportions, the borates and lime would react and solid would probably be something close enough to call Ulexite. Separation of the solids from the liquids usually use a filter paper (or cloth) to capture the solids. My tongue was centered behind my t
  5. Why not just make a mixture of sodium borate, lime and boric acid. All three ingredients are soluble in water. mix up separate amounts of each and mix. The Ulexite is only slightly soluble. filter the mixture and you will might just get Ulexite on the filter paper. If you are not afraid of soluble glaze ingredients, just mix the right amounts of sodium borate, lime and boric acid to equal Ulexite and use that instead of Ulexite in your glaze. LT
  6. liam, does your birds have problems landing on the glazed rim of the bird bath? round here birds don't like slippery glass for landing; all bird baths have raw rims.
  7. Val Cushing's book "Cushing's Handbook" has a section on the absorption for freezing conditions for fired stoneware. Keep in mind: There are thousands of tons of ceramic roofing tiles and structural ceramic bricks that are used for buildings and housing in the areas where ice is normal in the winter and no ice the rest of the year. The tiles and bricks survive. If absorption is too much, the items will break, and if the absorption is too small, the items will break. There is a region that is "just right". Look outside the studio art ceramics discipline, brick and til
  8. I use a mix of red iron oxide and water to mark my logo on my ware, and for decorative marks. Treat the mixture like using water color on paper. To get a good colored mark requires a good application. My mix is about 1/3 of a peanut jar of dry RIO and fill the jar with water. Shake shake shake. I apply on green ware, bisqued ware, and over glaze applications. Works for me at Raku, cone 3, cone 5, and cone 10 +. All kinds of clay body’s. took a few test marks before I got the hang for making good marks. LT
  9. If I know the bag will be stored a long time, I set the bag on a brick inside a 5 gallon plastic bucket with a half-a-brick high layer of water and seal the bucket. The moisture from the puddle and the seal will reach an equilibrium that stops drying. Had one bag survived three years (poor pilot memory ) under work table.
  10. If the glaze is a stiff melt with a high surface tension at the firing temperature, I would look for application issues. My Shino glaze will do this (often deliberately used as a decorative effect) if applied thick on dry bisqued surfaces. Also with celadons and other thick glaze slurries. These glazes have high melt viscosity and high surface tension. higher firing temperature may help, but the increase in temperature to lower viscosity (and surface tension) may larger than you want to use. From my glass work, I would not expect longer time at same temperature will be effecti
  11. I use cone 10 clay as body for most of my work. When doing glaze assignments we have to make a plate that shows what happens at the bisque and final glaze firing for each ingredient of the glaze recipe assigned. We (us students) learn a lot from these little plates of individual ingredents. My recollection is that Gerstley Borate (GB) melted to a glaze coating at our bisque temperature -- a tad below 1000 C. We use a mix of GB and nepheline Syenite as the base for a our clear Raku glazes fired at ~1000 C. They melt well at that temperature. When I was using earthenware clay in R
  12. Pres, my brain still in slow this week; what are the units for Van Gilder's mixtures? I guessing that everything is by weight and the base is half and half, and the "others are grams based on a 100 or 250 or 500 grams of the base. How far off am I this time? LT
  13. My grandpa taught me to always stand up wind of the fire!. That also applies to kilns.
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