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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 to the 21st century kilns website and get the book also available from Paragon kiln website . The book will give you the information you need. LT
  2. Johnny, Test the vase with water that has a “tad” of soap and/or detergent to see if the “stuff” remains water resistant. Flowers often contaminate the water after a few hours; many florists put a package of powder that slows the wilting of the flowers. My guess is that the “liquid glaze” depends on the high surface tension and wetting character of pure water; adding detergent lowers surface tension and increase wetting. Or add some rubbing alcohol. Hopefully the “liquid glaze” lives up to the advertisement. LT
  3. How deep is the water on main Street when it rains? Who gets use the high ground during the rain? Think about the water that falls on the buildings around the area; where does that water go and will that water impact you where your booth will be located on main Street? Will you be prepared to be located at the bottom of the hill or at a low spot in the road? LT
  4. I agree; But apple vinegar smells better than plain water and does change the local area to a slightly more adhesive environment. My handbuilding is generally done with soft clay. The corn syrup (it's sticky by design) in the SPOOZE mix helps with adhesion of stiff clay. LT
  5. Yes, vinegar works fine. So does plain water, and a few other liquids. I have used them all. the compression of the pieces is more important than the choice of liquid. Also wait until the sheen of the applied liquid goes away before putting the clay pieces together. Too much liquid in the joint is not good! LT
  6. Have you cleaned the thermocouple tip? A buildup of corrosion on the tip (which is the working part of the device) will lower the true thermocouple reading which is what the controller uses to decide if the target temperature has been achieved. The corrosion insulates the thermocouple. Cleaning will remove the insulation an the temperature reading will be closer to the temperature of the ware. LT
  7. so does baking powder, baking soda, table salt, and trisodium phosphate -- always applied as a solution in water. Try drawing on raw clay with a brush using a baking soda solution (or any of the above) as ink.
  8. A work-around is to leave a couple of small throwing sponges in the splash pan; when the water gets high, squeeze the sponge over your throwing water bucket; then drop the sponge back into the splash pan. Perty soon you will be using the splash pan for water rather than the water bucket.
  9. comparing Richard's clear with the cone 10 clear I use regularly. The recipe units are in grams Richard se :: mmr ---------- ----- :: ---- ----------- feldspar 45 :: 49 feldspar silica 20 :: 22 silica CaCO3 8 :: 17 whiting (CaCO3) zinc oxide 6 : : 2 zinc oxide SrCO3 8 :: 0 Alumina 7 :: 0 kaolin 10 :: 10 kaolin total 104 :: 100 total I would keep the mix you have tested and add whiting in small steps until you get the "clarity" you want, or/and lower the alumina amount until get "clarity". I have removed the zinc and still gotten a good glaze. The mmr glaze is a base for at least 5 glazes in the studio. It works in both oxidation and reduction. We get a bright white by adding Zircopax. I would expect that the alumina would also produce a white. LT
  10. I have rehydrated clay by placing a brick or two in the bottom of a container with a sealing lid, added water to cover about half of the height of the brick in the bottom of the bucket, removed the clay block from its bag and placed on the brick but not touching the water, placed the lid (sealed) on the bucket, wait a week or so and check to see that the clay is becoming moist and the water level has not gone to zero, adjust water level and wait more if needed. Never had clay over hydrated with this technique. The method posted by Bill also works just fine. LT
  11. I have learned (the hard way) to support flat bottomed items such as plates and heavy jars on balls of wadding with a diameter that is no smaller than the thickness of the plate or bottom of the jar. Ball to ball separation around the circle is about twice the diameter of the ball. The balls separates the heating and cooling gradients in the ware from the mass of the kiln shelf and allows each to cool at their own schedule.
  12. Brandon, yep, there are a lot of crystals, and the crystals are big; the high contrast between the crystals and the background makes the background become a very interesting aspect of the art work. within the constrains of each large crystal the contrast gradients become more subtle and adds intrigue to overall piece. The pot is a winner! LT re: the technical details of time and temperature are always unique to each firing and the local firing environment. you will only know by trying several times -- a three degree change may be within the noise range.
  13. it is a cone 10 glaze; what temperature are you firing? Agree with MIN.
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