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Magnolia Mud Research

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About Magnolia Mud Research

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  • Location
    : Texas
  • Interests
    ceramic chemistry

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  1. I too am assuming a point of view of the OP's query application of laser heating. My response is more influenced by the negative approach to the use of laser in curing of ceramics. the ceramic art discipline needs to think about how to use 21st century technology instead of staying solidly in the 19th century. Thanks for the link to the JECS article. LT
  2. Several years ago Arnold Howard posted about laser cutting being used to "cut" the bricks used in paragon kilns. Laser heating can be used along with 3D construction of many materials. Powdered materials placed properly and zapped with energy to cause the particles to fuse together. I have "fired" small greenware ceramic items with a propane hand torch, start to finish in about 2 minutes. Get out of the standard "wheel and kiln" box and THINK. Try it; feed the raw materials to the laser in the right size bites at the right time and the concept should work. a few years
  3. Mark What do you mean by "the lack of atmosphere"? There will always be an "atmosphere" in an open area even if the atmosphere is just a perfect vacuum. The composition of the atmosphere inside a cylinder is likely to be somewhat different than the more open and connected volumes. movement of atmosphere in a combustion kiln is different in many ways from the atmosphere in an electric kiln. Composition for one; constant movement another. My experience with "pinholes" at cone 3 oxy and cone 10 reduction have been application issues not firing conditions. glazes bubbles and b
  4. the difference is if the slow fire is used then the clay will most likely have a temperature profile similar to the bisque firing plus the firing to the final temperature. on single firing the time from start to the regular bisque temperature needs to be equal to a bisque firing time; then the temperature rise to the final temperature -- cone 6 in your case -- can be as fast as you can get there without thermal stress cracking of ware. The standard fast fire schedule is based on the ware having a separate bisque firing. The bisque temperature rise is slower because the ware needs more
  5. Some questions: 1. are the bowls stable (don't wobble) at the trimmed and bone dry stages prior to being fired? 2. are the bowls stable after the bisque firing? 3. or are the bowls only wobbling after the glaze firing? the answers to the to these questions will give you some insight as to where the wobbling originates. you mention that your trimming of the bowls might be a cause, check immediately after the trimming. I have used a flat board to check stability for my ware at both leather hard and bone dry before sending to the bisque kiln. If the wobble comes only after
  6. make contact with the construction disciplines that use tiles for exterior decoration. LT
  7. been following this discussion, and am surprized at the confusing lines of reasoning. I have no problem with acrylic (or any other hot or cold glaze) surface treatment. the technique is not a new one. My recommendation to others is for them to study the art of Kenneth Price before taking a strong stand on whether paint fired clay is OK for ceramic art. some useful links and quotes to get you started: **/** https://kenprice.com/ **/** https://matthewmarks.com/search?search=ken price **/** https://matthewmarks.com/exhibitions/ken-price-specimen-rocks-05-2014 **/
  8. I would take my standard clear glossy glaze recipe, add some Zircopax for whiteness, use 2%, 4%, 8%, 16%, 24% Zircopax as a first test set to bracket the amount needed; then think about tweaking within a bracket. if not enough matteness, maybe add some more clay or alumina hydrate with a similar approach; you already know how your clear glossy glaze performs on your ware, in your kiln, fired your way; this means you have a big head start over any recipe that you have not used. LT
  9. I solved this problem twice with different approaches: 1. I made a "chuck" out of a big lump of moist clay; did not center the lump, just "centered" a hole in the lump, covered the hole with a cotton handkerchief; placed the bottle in the "hole" and started trimming. when all the trimming was done, the "chuck" was wedged and put back in the clay bag to be used for making pots (or chucks). 2. Since each bottle was on a separate bat, I set the bat aside for the bottle to stiffen, and then trimmed bottle already stuck to the bat. the bottom thickness was cut by hand with a knife or a
  10. me thinks the answer to the OP's question depends on the meaning of "flux"; a common word with several very different definitions. LT
  11. Think of a lump of clay about the size and shape of a stack of three US Quarters (25 cent type). That is a WAD. LT
  12. Consider this analogy for your project: make bolt washers from pipe instead of bars. Devise an pipe extrusion setup for long lengths of clay pipe: Say 2-3 meter. When the "pipe" is at ~bone dry, slice the pipe on a fine bladed bandsaw into sections to fit the specification. Must first determine the intermediate dimensions (for extrusion and for the bone dry states) that meets the required fired dimensions. You might find that you can cut cleaner at a moisture level between leather hard and fully "bone dry". I have found in some of my work that sawing of not-fully-bone-dry clay l
  13. A true story: Once upon a time (late 70's), a malfunction on the air flow into a gas furnace in Louisiana shutdown the furnace; the fuel was also stopped by the low flow air as designed by the safety control system. An operator immediately override the shutdown and restarted the fuel and air to the furnace without going through purging and relighting of the burners according to the NFPA recommendations; The furnace exploded; the blast was mostly contained by the walls of the furnace, but all of the interior of the furnace was destroyed -- took about 9 months to repair and return to servic
  14. 1. add moisture to the bisque surface before brushing on the underglaze. if 1 don't work enough, dilute the underglaze with some water. use brushes that hold a lot of fluid; for fine lines, use brushes that have fine tip and hold a lot of fluid. practice, practice, practice. LT
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