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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. Hey Liam, do you have an article I can link to on this? I’ve got someone asking about it in a FB group I too would like to know the source of Liam’s statement re carbon monoxide and barium carb and/or barium oxide.
  2. Use clean black iron pipe, not galvanized pipe. The odorizer in the natural gas will, over time, react with the zinc and produce flakes.
  3. See photo for how my test kiln is mounted on a small furniture dolly; used a large 4" cement block as a flat surface between the kiln legs and the dolly; been in use since 2006. The cement block down low balances the high center of mass of the kiln and reduces the tendency of the kiln to fall over when moved.
  4. why don't you make one from kaolin and grog?
  5. Doc, Look at Ron Nagle's work. His pieces has lots of color depth. His technique is to spray thin layers of clear glaze over the colored layers fire and add another layer of clear, fire. Some of his pieces have been fired 20-30 times. He learned this approach (or so he said in an interview long ago) from his youth decorating hot-rod automobiles. That is also the approach my painting professor recommended in painting classes. LT
  6. My suggestion: Take the stiffish (aka: does not run) of your cone 3 glaze and start adding baking soda to the glaze mix and see what happens. As a starting point start by mixing baking soda in water, with some food coloring to keep track of where on the pot you have made marks, and apply the wash with a brush on bisque war. take photo to know where to look for the marks after the firing. That is how Malcom got started in his Shino rabbit hole. A buff clay body will show the value texture more that a white clay body or porcelain. I recommend baking soda (officially called sodium bicarbonate) because it is available at any grocery store, easy on you hands, dissolves in water, and at about will convert to sodium carbonate in the kiln at about 50 C. If starting with an existing glaze recipe with baking soda added, be prepared that the glaze "might" run off the pot until you have enough data to support a conclusion that the mix does not run of the pot. I start with bowls and only applying "new glaze concoctions with extras" only on the inside. start with the mental idea that you are doing this to see what happens, that way you will never be disappointed by the results. At any firing temperature above about cone 012 the baking soda (or washing soda, or soda ash) there will be some surface reaction between the clay body and the soda even if that "something" is just a clear glass. LT
  7. The will not need to go to the optometrist.
  8. Yes!!!!! and thick glass must be cooled slowly to reduce internal stresses. The “composition”of most commercial glasses have significantly different expansion coefficient than the ceramic material; that’s why cracks show up. Glazes have the same problem; potters call the cracks fit problems. LT
  9. Tom, try this idea: Make a clamp to hold the angle iron: use a threaded bar with a pipe tee slipped over the bar at each end; a big washer and a nut on each end to compress. see sketch. blue is the threaded bar, red is the pipe tee, black washer, brown is the nut, green is the bricks with angle iron at corners to be clamped. LT
  10. Well done! not too far back in time a student colleague had a platter carved with a mimbres design that cracked into several large pieces during the firing about two days before her critique. I suggested that she attach the three pieces to a thin piece of stiff cardboard or the backing of a picture frame. that she got a frame and mounted the pieces; the prof and her classmates commented that the cracks and the frame made the artwork more interesting. so: Take the "shards" and assemble them on a backing and see what happens visually. LT
  11. One answer to the "Thrown Sphere" problem is to first know how much clay is needed to make "the sphere", or to know how big will be "the sphere" for the known amount of clay being used. (gotta do some math here: get the volume of the sphere outside diameter and subtract the diameter of the inside sphere of air to find the minimum amount of clay needed. add about 1/3 more for trimming, etc). make a thick wall cylinder and expand the in the middle. rib the bottom of the cylinder to the shape of the inside. The top 3/4-th of the sphere is thrown directly from a cylinder using the skills of throwing the shoulder and spout of a bottle; close the bottle into a sphere; you now have a closed form of the top 3/4-th done. Let the form stiffen for a while; then trim the bottom 1/4-th to complete the sphere. [Practice by making hollow thrown doughnuts.] Or take the approach I did in a class assignment for making a "thrown sphere": Take a 4x4x4 inch cube of wet clay; shape the cube into a smooth sphere; throw the sphere up in the air and let it fall onto a sheet of paper the floor (or on to your work table if you don't like to bend over); carefully lift the piece from the floor (table) add some decorative slip, dry, remove the paper, fire, and present on a pedestal with the title "Thrown Sphere". Others in the class made two half sphere bowls that were joined one over the other. Seriously (and more on-topic) one must recognize that most thrown forms are monotonous unless we deliberately switch from being a throwing machine and use our artistic skills to produce something interesting. I have colleagues that uses simple plain thrown bottles and bowls as canvases for painting with slips and glazes. I use simple thrown forms with applied "dry slips" to produce random tactility textured canvases for a ground for "painting" with a glaze. The thrown form becomes an three dimensional canvas for making interesting marks. Look at the work by Tony Clennell ( http://smokieclennell.blogspot.com/ ) over the last five years. His forms are simple bowls, cylinders, platters, etc. are canvases to be used to apply handles, feet, and glaze. Or the work by Antonette Badenhorst: https://www.porcelainbyantoinette.com/ or https://www.aic-iac.org/en/member/antoinette-badenhorst/ the forms are simple bowls and cylinders. Look at the work of Voulkous, Paul Soldner, Marcia Selsor, etc. -- the thrown forms are just their starting point. But they were/are past the making bowls for food service; they were/are making art objects not bowls. . i quit making "bowls" when the family said we've got enough "bowls"!!!!; switched to making "interesting 3-d stuff" out of clay -- some of which can be used as a food container (or napkin compressor, or sling-shot target, or ...); the owner chooses how to use it. try making square bird-houses with slanted roofs using thrown lidded cylinders. LT
  12. , ... use the "pieces" as gravel in your driveway, or crush them into sand and use the sand as grog, or: you can crush the pieces to powder and use the powder as a decorative component in either the clay or in a glaze. LT
  13. The amount of SC needed is proportional to the copper (molar basis) , the SC is the reducing agent for the copper oxides . If the SC is significantly higher than the amount to reduce the copper the the melting glaze will convert the SC to silica and gas. Careful testing well help. The glaze also needs to not be very stiff or the gas will make a mess.
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