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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. Joseph, Several years back I was adding dried red/orange clay from my ponds to get some random pizzazz to the boring cone 10 porcelain and white clay bodies. Standard wedging was a bummer, so I modified the Slam wedging technique to meet my needs. I took a bag of clay, sliced it into thin slices -- eyeballed somewhere between 1 and 3 cm thickness, spread the slices on the table, sprayed water on the slices to get a sheen, and then sprinkled dry coarse pond clay on each slab. Starting with the two closest slabs, I stacked the two slabs together, slammed the slab onto the table, placed the slammed lump onto the next slice, slammed that stack, and so on until all the slices with "stuff" was in a single stack, then did about somewhere between 10 and 15 slams using the standard, cut it in half, stack, slam, repeat sequence. The red clay was semi-randomly dispersed through out the clay in lumps and smears. All together, a single 25 pound block of clay was done in less than an hour. The water sprayed on each slab was necessary to keep the overall mixture at a constant water level; without the added water, the clay becames too dry. additional wedging would have uniformly distributed the additions which ruins the contrast of random spots of small red clay lumps against a white background. Shortly after playing with that clay, I switched to applying rogue mixtures of clay bodies (wet and dry lumps , rocks, & powders) to items made with standard studio clay. Slips are easier to make than wedging dry stuff into clay; I gained control of where the contrasts take place; and I really don't like to spend time wedging -- it's boring. LT
  2. You can just spray water on to the glaze to wet the glaze a bit, then apply the mocha liquid to the moist glaze. LT
  3. Go to Robin’s blog https://rhrising.blogspot.com Search for mocha diffusion. He covered it well in several of his posts. As I remember from one of his last workshops he used vinegar instead of the tobacco juice.
  4. I use reclaimed clay frequently. Wedging cracks are common. Ignore them! until you are ready to put the lump on wheel to throw, then compress the lump and smooth the surface lumps, ... has worked for me since forever. why are you wedging clay that has just been “wedged” inside the pug mill? Choose your lump, compress into a ball and go to work. LT
  5. I would use small seashells filled with clay wads as supports instead of the “little tripods “. The shell surface is to be in contact with the ware and the wad of clay in contact with the kiln shelf. The seashell lifts the ware away from contact with the shelf . The seashell will be converted to lime during the firing and can be washed away after the firing. There might be some scars on the ware at points of contact. Choose the contact points carefully to minimize the visual effects of any scars . I use this approach frequently. LT
  6. set the items of little wads of clay or wadding to allow some ventilation to the interior of the foot rim area. LT
  7. Vince Pitelka has a paper on the producing and storing Terra Sig. : http://www.vincepitelka.com/wp-content/uploads/2019/05/Super-Fine-Terra-Sigillata-Edited-2019.pdf , My memory is that he stores his TS as dry powder and re-suspends the TS when he needs it. I have dried TS and re-suspended without problems. Also used the thick settled slurry and also the 'super fine' liquid. again either, or a mixture of both will work. The thick settled slurry puts a 'thick' coat on the ware and the 'super fine' produces a very very very thin coat. LT
  8. Jerry Rothman created a sculpture clay that has zero shrinkage. I think it is still available, contact Laguna and Aardvark Clay, I’m not sure which supply’s it. I have used it at bisque and cone 5 and shrinking was not obvious. Fired an off white.
  9. Have you checked that the wheel is level?
  10. My memory is that the Japanese Nuka glaze was a mixture of a lot of rice ash (silica), wood ash (calcium and potassium), and clay. The whiteness was from the unmelted rice ash. Starting from scratch, assuming that the Japanese Nuka glaze was basically rice ash, wood ash, and clay, I would start with a common cone 10 celadon glaze and remove the iron and add say an additional 25 or 50% silica and see what happens in on a test piece a cone 10 reduction ( or electric) kiln firing. The celadon I use has not run in either a gas or wood kiln firing and I expect that saturating the glaze with silica will make it stiffer, not runny. Custer 51 Silica 22 Whiting 17 EPK 10 (all weight%) Keep it simple. LT
  11. the book can be found on this webpage: https://stevemillsmudslinger.weebly.com/
  12. Put the underglazes on at the bone dry stage and bisque fire. The underglaze will be fused to the bisque ware enough to withstand being washed, rubbed, and otherwise handling. The integrity of the bisque fired underglaze now be equivalent to the integrity of the bisque ware. Or simply re-bisque fire the bisque ware after applying the underglaze. LT
  13. Long ago I conducted a series of tests using water color paints on green and bisque ware to see what happens when fired. Was interesting! All of the “paints that contained metal based ingredients produced a color similar to the use of that metal oxide in a stain or glaze. Using oil paints and school wax crayons also produced marks. Therefore mixing a thin mixture of the “right “ material and brush technique one would probably get the effect you want. Try it and see what happens. LT
  14. I have used a low fire clear commercial glaze on cone 10 stoneware (and porcelain) fired to cone 10 reduction without any problems. Also used that clear glaze as a “base glaze” with added oxides for high fire tests. I suggest you make a test run with the stoneware in something similar in shape and thickness to confirm. low fire glazes are fully melted at or near bisque temperature of stoneware and the open pores of bisqued stoneware soak up the glaze like a sponge. LT
  15. @Olinda, Keep in mind that iron in your water supply produces stains on glazed porcelain (aka tubs, sinks, and showers) that are extremely difficult to remove without some chemical assistance. Try it and see what happens. Adding a little sodium silicate to the iron oxide and water might help when the water evaporates; the sodium silicate becomes "water glass" which was used to seal flues on stoves before more modern 'stuff' was marketed. LT
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