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Mullins Pottery

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  1. Hi all, I'm looking for advice on how to achieve a darker charcoal/black carbon trap finish. I'm working with Malcolm Davis Shino on bee mix & coleman porcelain. I have been unable to fire the gas reduction downdraft kiln because of work so I haven't been able to play around with it. This image was taken a while back before I really cared how heavy the carbon trap was (record record record). This is what I'm trying to achieve. It's Malcolm Davis Shino on Coleman Porcelain with wax resist fired to cone 10 in gas reduction. Any thoughts?
  2. Thanks guys I appreciate the suggestions. I'm definitely going to give kaolin a try.
  3. I've got this native clay that I've been working with for a couple years and it's a fantastic clay that fires beautifully to cone 04. When I first began testing this clay body i tested it at both 04 and cone 10. At cone 04 its a soft salmon color and it works great with cone 04-06 glazes. in a cone 10 gas reduction firing it turns black and seems to be too vitrified and brittle but there is no bloating. At this temperature it does not receive cone 10 glazes at all. All the test tiles I made with this clay glazed crumbled/shot off into hundreds of pieces. I know that there are some clay bodies that can be adjusted to work well at low and high fire temperatures. I'm wanting to find out what could be added to this clay body to make it a proper fit for cone 10 glazes and perhaps still work well at 04.
  4. Thanks Magnolia another thing I haven’t considered. I do end up with some left over inorganic material but I’m not sure what it is. It acts similar to clay but it refuses to break down and further with my mixer. I can smush it if I smear it across my hand but even when I place all of this material in a bucket with like 200% water to try to break it down with my mixer it refuses. I’ve fired it both with and without the extra material and I have not noticed and difference. However when I exclude the extra material the clay body is easier to throw. I’ve been wanting to send a sample to a lab to figure out exactly what the material is composed of but have yet to do so.
  5. Thanks for the reply Mark. I'm basically just trying to cover all my bases. I hadn't considered the possibility of re-hydrating organics. Thankfully I haven't found any in the clay that I've worked with so far. This clay has been pretty awesome. Great to throw with or handbuild. It dries very nicely for durable workable greenware and fires beautifully at cone 04. I just haven't seen much being said about processing this way and am wanting to avoid any possible pitfalls.
  6. Hello all, As is happens I live in a desert. All the local earthenware clay I dig up is already dry and mostly free of impurities. Much of the research I've done regarding the processing of clay suggests that after drying the clay one should break up the dry bits into pieces then screen dry then re-hydrate to appropriate consistency. In my process I basically use the blunging process instead of dry screening. Aside from the drying process taking a couple days I cant think of anything that makes this process less viable. I've found this to be quite effective in weeding out the impurities. I'm wondering if there's anything wrong with doing a wet screening as opposed to a dry screening. Any thoughts? My process is this: 1. Dig up clay 2. Re-hydrate clay 3. Blunge into slurry 4. Pour through screen mesh twice 5. Dry to appropriate consistency on drying table 6. Wedge into logs 8. Bag & age
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