Billy Ray Mangham - Ceramic Arts Network · temp by adding a little clear glaze to the commercial. if the commercial glaze is overfired, it will not work in your palate. Here are

AlternAtive Firing SurFAceS

1

PresenterBilly Ray Mangham


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Billy Ray Mangham

San Marco, tX www.eotdac.com

Notes on Glazing

My one and only glaze recipe

Clear/Crackle Raku

50% gerstly Borate

50% neph Sy

this recipe is by volume, not by weight. (ie 6 cups of each or 3 pints of each, etc.)

Alternate hand sifting the ingredients into water, allowing each addition time to sink.

(gerstly takes forever to sink.) if you can, allow this to sit overnight but at least an hour

or so before mixing. Add water to get it where you like it, i usually start out with about

a third of a pickle bucket of water and add about 8 – 16oz. cups of each and go from

there.

Testing Commercial Glazes

On each test tile i brush a swatch of my cleAr/crAcKle rAKu glaze, two coats.

next to this i brush two coats of whatever commercial glaze i am testing. i want the

commercial glaze to mature at the same time the clear glaze matures. if your

commercial glaze is underfired (in comparision to the clear) you can often bring it up to

temp by adding a little clear glaze to the commercial. if the commercial glaze is

overfired, it will not work in your palate.

Here are some commercial glazes that work for me. When the kiln is loaded and fired

properly every glaze will mature at the same time.

Amaco Glazes

lg48 cHrOMe green Dark green

evergreen - Another Dark green


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Billy Ray Mangham


F-23 viviD Blue -Dark Blue

tAHititiAn Blue – this is always the mystery glaze. it contains copper and

depending on your reduction can come out looking like a new penny. it always comes

out good but hard to get consistant results.

Mayco Glazes

these glazes come out looking like they do in the jar. they do not

run.

Ag 241 MAngO

g 3003 cHrOMe YellOW – A rather transparent yellow.

S 2582 cArAMel APPle

Ag 261 SAntA Fe turQuOiSe

Fn 002 YellOW

S 2165 SOOtY greY

Fn 026 SAlMOn MOuSSe

S 2538 true Blue

S 2121 SHinY BlAcK

Bg642 viviD reD

Fn027 glADe green

Ac207 rOYAl PurPle

Bg643 tAngerine

S21?? rASPBerrY WHiP

nAScO glAZeS


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Billy Ray Mangham


DrAgOn reD – this is a fantastic red. Mayco quit making it sometime back. i fould

that nAScO was still selling it. if it is no longer available, the best we've found so far is

Mayco Hot tamale. You can order nasco online.

Side Note

My primary focus at present is not raku. i am working with Speedball underglazes on

high fire work, tiles, and most recently, kiln shelves. i am in love with these things and

if you are a under glaze person you should give them a try. i might add, the price

difference is significant – at my supplier a pint of Amaco red underglaze is about $42

and a pint of Speedball about $15. i buy my Speedball colors on line through Dick

Blick but Jerry's Artaramas also carry them.

Here are a few books that i consider greAt. the first two are by the fantastic folklorist

from indiana university, Henry glassie. Henry loves potters and is able to talk about us

in ways we not only understand but in ways that take us beyond our everyday selves and

help us see our work and our art as a part of a much larger picture – as an integral part of

culture and society for thousands of years.

the Potter's Art - indiana university Press

the Spirit of Folk Art – Harry Abrams publisher. this book is associated with the

Museum of international Folk Art in Santa Fe, new Mexico. the giraud collection is a

must see if you're out west. this book puts the potter's art in perspective up against

High Art, Fine Art, Popular Art, etc.

the last book i recommend is ”FlOW” By Mihaly chikszentmihalyi this book talks

about finding happiness when your challenges and skills are matched up – a state of

mind we can often find in our work as potters. this is my teaching philosophy.


1

PresenterMarcia Selsor


2

Marcia Selsor

Brownsville, tX www.marciaselsor.com

Hands-on Firing (Saturday and Sunday Morning class)

Title: Horse Feathers!!!! or Horse Hair and Feathers and obvara FiringThe process:

the piece should be prepared ahead of time and fired to a ^09 bisque. Hotter than ^09 and the surface could seal making the carbon burning less absorbent. An ideal shape is a smooth surface with a 1” hole in the top for a heavy wire hook. coleman Porcelain is recommended, but a smooth thermal resistant white claybody will do. the surface should be coated with terra sigillatta* onto dry greenware and burnished with a soft cloth.the piece needs to be light so the weight of the pot doesn’t stress the lip and break. Heavier pieces can be lifted by tongs, but which may mar the surface.

this is a fast firing process to 1100 degrees F. in a raku kiln for fast removal.each piece is picked up using a coat hanger hook inserted in a small hole in the top of the pot. it is placed on a bed of sand or a blanket of fiber, rolled over the pre-arranged horse hair or feathers quickly and inverted to cool slowly. -less than 5 seconds. We will have 2 small raku kilns for these firings. the first batch should take a half an hour and then get quicker as the kiln stays warm be-tween the firings.

as we progress through the batches of 4-5 pieces , participants can assist with the rolling of their work or pulling the pots from the kiln depending on how comfortable they are in doing this.• each person should bring 2 small bisqued pieces up to 5”max. dimension and a pair of heat resis-

tant gloves if possible. At least one of your pots will be fired.will be fired. if time allows, two may be fired.the piece should be burnished preferably with terra sigilatta*.

• Discussion will cover surface preparation, burnishing techniques, coloring techniques and remov-ing from the firing to the carbonizing station the firing.

• Description of what the attendees will be doing – setting :We will be firing two small raku kilns with several pieces at a time for several hours. Participants will help with the removal of the pieces. the maker of each piece will roll their own piece onto the horse hair or feathers. expec-tations: each person should go away with a finished piece.

What to bring:

• Bring heat resistant gloves. respirator or mask. 2 small bisqued pots.


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siMPLE Terra sigillatta recipe.

Fill a plastic liter bottle with 3/4 full of water. Add 250 grams of ball clay and a couple drops of Darvon 7, or Darvon 811 or sodium silicate. Add more water until the bottle is almost full. Put the top on tight and shake well. let the mix set for an hour or so..until you see three separate areas of the mix. clear, light and dark. if the top layer is completely clear, add more Darvon. You want some color in the top layer. Punch a hole at the bottom of the middle layer and let it squirt into a bucket. Wait until your piece is bone dry and apply to the piece with a soft brush. Burnish after each application.i use a soft sponge for burnishing. You can apply several coats as until it is shiny. too much terra sig can lead to peeling or cracking. obvara solution (this will be made by the hosts)

2.2 pounds of flour1-2 packets of yeast1 table spoon of sugar2.6 gallons of water

Mix well, cover and let it ferment for 3 days in this second process , pieces are fired to 1650 F, removed and dunked into the above solution, dunked into water and allowed to air cool.Feather pot on earthenwareObvara firing on Porcelain clay


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dEMonsTraTion/discussion (Saturday and Sunday Afternoon class)

introduction

• Marcia will present examples of alternative firing techniques usings raku kilns plus discussion of a tipi kiln and smoke firing. Questiond during this presentation are welcomed.

• Drawing, resist, color and chemicals!• An overall look at applying decoration to pieces in alternative firing processes: raku, carbon

marking aka horse hair or feathers, saggar and smoke firing.• Demonstration on throwing cracked surfaces for the Obvara technique • Demonstration of drawing on bisques slabs, applying latex, applying glaze, and removing the la-

tex. then additional color of luster lines is applied with an applicator. On going discussion of firing techniques will add to the session.

Marcia selsor

ceramics is a beguiling medium which can engage a lifetime of exploration. Marcia has been work-ing in raku for over 45 years beginning with a workshop with Paul Soldner in 1967. Although her experimentation in clay has lead to a wide variety of processes, she still fires raku, builds kilns and fires in a wide range of temperatures to meet the needs of a particular goal. Fast firing processes give ‘instant gratification”, more impromptu ideas to keep trying various approaches until satisfied. We can use a surface, prepare it to react in a certain way or reheat and erase. Flashing, fuming, smoking, post firing chemical effects, can create infinite possibilities.

additional information

Marcia is a Professor emerita at Montana State university in Billings. retiring in 2000, she has taught at additional universities including u of Hawaii-Manoa, u of texas at Brownsville and the institute of the Arts in tashkent uzbekistan. She has taught workshops on a variety of subjects across the uS, canada, Spain, italy, France. Her work is in public and private collection in nearly a dozen countries. She has had residencies at the clay Studio in Philadelphia, Archie Bray Foundation in Montana, the Banff center in Alberta, la Meridiana in italy, Air vallauris in France, Straumur Artists commune in iceland, Dzintari in latvia, national ceramics Factory in uzbekistan, Mary Anderson center for creative Arts in indiana. She has published articles in ceramics Monthly, Pottery Making illustrated, Studio Potter, crafts international, British Archaeological reports, Women’s Artists news, and contributed to a number of books including Studio Potter, the Book, A Pot for All reasons

Marcia Selsor

Brownsville, tX www.marciaselsor.com


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Darryl Baird’s extruder Book,Oriental glazes by Michael Bailey ( contributions are ^6 glazes) Alter-native Kilns and Firing techniques, Advanced raku, 21st century Kilns, ceramic Sculpture; inspiring techniques, Mastering raku, lark Books 500 raku pieces, Paperclay;the Art and Practice (2013)She served on the Board of Directors of ncecA, and served as Potters council President as well as on the technical staff of ceramics Monthly for several years. She is the recipient of two Ful-bright Scholars Awards: Spain in 1985-86 researching ethnic origins of pottery traditions across the country, and uzbekistan in 1993 researching islamic ceramics and architecture in Khiva, Bukhara, Samarkund, and tashkent as well as teaching at the Art institute.She currently maintains a studio in Brownsville, texas.

ALTERNATIVE FIRING SURFACES

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PresenterDavid Sturm

Kaowool Blanket, Kaowool RT Blanket,Cerablanket®, Cerachem® Blanket andCerachrome® Blanket are air laid into a continuousmat and mechanically needled for added strengthand surface integrity. Blanket products do not containorganic binders. Thermal Ceramic Blankets provideexcellent resistance to chemical attack. Exceptionsinclude hydrofluoric acid, phosphoric acid, and strongalkalies (ie. Na2O, K2O). Thermal Ceramic blanketsare unaffected by oil or water. Thermal and physicalproperties are restored after drying.

Kaowool BlanketKaowool blanket is produced from kaolin, a naturallyoccurring alumina-silica fire clay. Kaowool, theworld’s most recognizable name in ceramic fiberblanket, is available in a wide variety of densities andsizes. Kaowool blanket offers excellent handleabilityand high temperature stability. This allows it to meeta wide range of hot face and backup insulation appli-cations in furnaces, kilns and other equipment requir-ing high temperature heat containment.

Kaowool RT BlanketKaowool RT Blanket is produced from a blend of highquality alumina, silica and kaolin using the spinningprocess. It is available in a wide variety of densitiesand sizes, and offers a highly cost effective alterna-tive to Cerablanket with its 2300°F (1260°C) maxi-mum temperature rating.

CerablanketCerablanket is produced from exceptionally pureoxides of alumina and silica using the spinningprocess. The resultant quality spun fibers have beenoptimized for high handling strength, with on averagethe highest tensile strength of any Thermal Ceramicsceramic fiber blanket. Cerablanket is available in awide variety of densities and sizes. Cerablanketoffers excellent handleability and high temperaturestability which allows it to meet a wide range of hotface and back up insulation applications in furnaces,kilns and other equipment requiring high temperatureheat containment.

Cerachem BlanketCerachem Blanket is a 2600°F (1427°C) maximumtemperature rated refractory blanket formed from aunique, patented, spun alumina-silica-zirconia fiber. Itis specially designed for applications where high fibertensile strength, low thermal conductivity and lowshrinkage are required. Cerachem Blanket is usedextensively in high temperature units in the ceramic,chemical processing, and ferrous metal industries.Thermal Ceramics Cerachem refractory blankets areideal for a wide range of hot face lining and backupinsulation applications in furnaces, kilns and otherhigh temperature equipment.

Cerachrome BlanketMade from spun alumina-silica-chromia fiber,Cerachrome Blanket is well suited for hot face liningapplications where higher temperatures are encoun-tered, such as soaking pit covers, reheat and forgingfurnaces. Cerachrome Blanket with its chromia-sta-bilized chemistry offers improved long term shrinkagecharacteristics over zirconia containing blankets such as Cerachem. Cerachrome Blanket effectivelyfills the gap between zirconia blankets and high alumina products.

Blanket ProductsProduct Information

01.07/5 14-205

Blanket ProductsProduct Information

www.thermalceramics.com

Physical Properties Kaowool Kaowool RT Cerablanket Cerachem CerachromeColor white white white white blue/greenDensity, pcf 3, 4, 6, 8, 10, 12 4, 6, 8 3, 4, 6, 8 4, 6, 8 4, 6, 8

(kg/m3) (48, 64, 96, 128, 192) (64, 96, 128) (48, 64, 96, 128) (64, 96, 128) (64, 96, 128)Thickness, in. (mm) 1/8 - 1 (3.125-50) 1 - 2 (25-50) ⁄ - 2 (6.25-50) fi - 2 (12.5-50) fi - 2 (12.5-50)Continuous use limit, °F (°C) 2000 (1093) 2000 (1093) 2150 (1177) 2400 (1315) 2500 (1371)Classification temp. rating, °F (°C) 2300 (1260) 2300 (1260) 2400 (1315) 2600 (1426) 2600 (1426)Melting point, °F(°C) 3200 (1760) 3200 (1760) 3200 (1760) 3200 (1760) 3200 (1760)

Chemical Analysis, Nominal %Alumina, Al2O3 45 35 - 47 46 35 43Silica, SiO2 50 - 55 49 - 54 54 50 54Ferric oxide, Fe2O3 1.0 0.05 - 1.5 0.05 0.05 –Titanium oxide, TiO2 1.7 0.05 - 1.9 – – –Calcium oxide , CaO 0.1 0.05 0.05 0.05 –Magnesium oxide, MgO trace 0.05 0.05 0.05 –Alkalies as, Na2O 0.2 0.2 0.2 0.2 –Boron Oxide, B2O3 0.08 – – – –Chromium Oxide, Cr2O3 – – – – 3Zirconia – 0 - 15 – 15 –Other – 0 - 3 trace trace traceLeachable chlorides 1 - 2 0 - 3 trace traces trace

Thermal Conductivity, BTU•in./hr•ft2•°F (w/mK) (ASTM C 201)Mean temperature, 8pcf@ 500°F (260°C) 0.44 (0.06) 0.44 (0.06) 0.44 (0.06) 0.44 (0.06) 0.44 (0.06)@ 1000°F (538°C) 0.87 (0.12) 0.93 (0.13) 0.93 (0.13) 0.93 (0.13) 0.93 (0.13)@ 1500°F (816°C) 1.45 (0.21) 1.60 (0.23) 1.60 (0.23) 1.60 (0.23) 1.60 (0.23)@ 1800°F (982°C) 1.83 (0.26) 2.05 (0.30) 2.05 (0.30) 2.05 (0.30) 2.05 (0.30)@ 2000°F (1093°C) 2.09 (0.30) – 2.34 (0.34) 2.34 (0.34) 2.34 (0.34

Mean temperature, 6pcf@ 500°F (260°C) 0.47 (0.07) 0.47 (0.07) 0.47 (0.07) 0.47 (0.07) 0.47 (0.07)@ 1000°F (538°C) 1.01 (0.15) 1.05 (0.15) 1.06 (0.15) 1.06 (0.15) 1.06 (0.15)@ 1500°F (816°C) 1.73 (0.25) 1.90 (0.27) 1.90 (0.27) 1.90 (0.27) 1.90 (0.27)@ 1800°F (982°C) 2.19 (0.32) 2.45 (0.35) 2.45 (0.35) 2.45 (0.35) 2.45 (0.35)@ 2000°F (1093°C) – 2.83 (0.41) 2.83 (0.41) 2.83 (0.41) 2.83 (0.41)

Mean temperature, 4 pcf@ 500°F (260°C) 0.54 (0.08) 0.54 (0.08) 0.54 (0.08) 0.54 (0.08) 0.54 (0.08)@ 1000°F (538°C) 1.29 (0.19) 1.34 (0.19) 1.34 (0.19) 1.34 (0.19) 1.34 (0.19)@ 1500°F (816°C) 2.30 (0.33) 2.48 (0.36) 2.48 (0.36) 2.48 (0.36) 2.48 (0.36)@ 1800°F (982°C) 2.96 (0.43) 3.23 (0.47) 3.23 (0.47) 3.23 (0.47) 3.23 (0.47)@ 2000°F (1093°C) – – 3.74 (0.54) 3.74 (0.54) 3.74 (0.54)

Military Specifications and Approvals Water Leachable Elements on Surface of Fiber, typical quantities, PPMMil-I-23128A 3, 6 pcf blanket Boron 40 Sulphur 10Mil-I-24244 All blankets Chlorine <10 Sodium 40Mil-I-23128B 6, 8 pcf blanket Fluorine <5 Silicate 125

Acoustical performance per ASTM C-423 A and E-795, Sound Absorption CoefficientKaowool Blanket 250Hz 500 Hz 1000 Hz 2000 Hz 4000 Hz NRC1”- 4 pcf 0.29 1.00 1.04 0.99 0.98 0.851”- 8 pcf 0.50 0.92 0.91 0.91 0.94 0.802”- 4 pcf 0.92 1.01 1.01 1.03 1.10 1.002”- 8 pcf 0.80 0.72 0.86 0.92 1.02 0.85The values given herein are typical average values obtained in accordance with accepted test methods and are sub-ject to normal manufacturing variations. They are supplied as a technical service and are subject to change with-out notice. Therefore, the data contained herein should not be used for specification purposes. Check with yourThermal Ceramics office to obtain current information.

Thermal Ceramics, Cerachrome, and Cerablanket are trademarksof The Morgan Crucible Company plc. Kaowool is a trademark ofThermal Ceramics Inc.

Marketing Communications OfficesThermal Ceramics AmericasT: (706) 796 4200F: (706) 560 5841Thermal Ceramics Asia PacificT: +65 6733 6068F: +65 6733 3498Thermal Ceramics EuropeT: +44 (0) 151 334 4030F: +44 (0) 151 334 1684

North America - Sales OfficesCanadaT: +1 (905) 335 3414 F: +1 (905) 335 5145MexicoT: +52 (555) 576 6622F: +52 (555) 576 3060United States of AmericaEastern RegionT: +1 (800) 338 9284F: +1 (866) 785 2764

Western RegionT: +1 (866) 785 2738F: +1 (866) 785 2760

South America - Sales OfficesArgentinaT: +54 (11) 4373 4439F: +54 (11) 4372 3331BrazilT: +55 (21) 2418 1366F: +55 (21) 2418 1205

ChileT: +56 (2) 854 1064F: +56 (2) 854 1952ColombiaT: +57 (2) 2282935/2282803/2282799F: +57 (2) 2282935/2282803/23722085GuatemalaT: +50 (2) 4733 295/6F: +50 (2) 4730 601VenezuelaT: +58 (241) 878 3164F: +58 (241) 878 6712


Organic RCF Vacuum Formed Products

Datasheet CodeUS: 514-700 MSDS Code

US: 203, 211, 260, 27502:2010

page 1 of 2

Product Description

Vacuum formed products are rigid, self-supporting fiber insulationmanufactured from a slurry of ceramic fibers, binders and other pro-prietary ingredients. Customers are provided with optimized, engi-neered solutions from our wide range of formulations.

Kaowool® M is a general duty product for a wide range of applica-tions.

Kaowool PM is a thin, lightweight product that is manufactured toclose tolerances with an excellent surface finish and good thermalproperties.

Kaowool HP is a high strength product made from high purityfiber.

Kaowool HD is a high strength product recommended for toughmechanical stress areas.

Kaowool A is a high strength product.

Kaowool HS is a high strength product recommended for toughmechanical stress areas at higher temperatures.

Kaowool HS45 is designed for a temperature rating of 2500°F(1371°C) with very high compressive and flexural strengths. It isnon-wetting to molten aluminum and exhibits good resistance tochemical attack.

Kaowool HT is a high temperature product designed for use up to2600°F (1427°C).

Kaowool 2600 uses high temperature alumina fibers in the manu-facturing process. It is an excellent dimensionally stable productand has minimal shrinkage at it’s use limit of 2700°F (1510°C).

Kaowool 80 has a continuous use limit of 2950°F (1621°C). It hasexcellent temperature stability, density and strength.

Kaowool 3000 is processed with a blend of high purity fibers, hightemperature alumina fibers and binders. It has a continuous use limitof 2950°F (1621°C).

Features

• Rigid, lightweight, hot face insulation• Resistant to particulate and hot gas erosion• Engineered formulations for high strength and temperature resist-

ance• Low thermal conductivity and heat storage• Highly resistant to thermal shock• Resists most chemical attacks• Non-wetting to molten aluminum and other non-ferrous metals• Easy to cut, handle and install• Up to 50% reduction in furnace lining thickness, as compared to

firebrick and castable

Applications

• Furnace and kiln hot face linings• Back-up insulation for monolithic and brick refractories• Ladle liners and covers• Aluminum trough liners and special shapes• Riser sleeves, tap out cones and hot tops• Combustion chambers for boilers and heaters• Hot gas duct, flue and chimney liners• Appliance and heat processing insulation• Bullnose tiles• Burner blocks• Expansion joint material• Glass regenerator, tank side, end wall and port neck insulation• Heat Shields• High temperature gaskets and seals• Back-up insulation in steel ladle and torpedo cars

The values given herein are typical average values obtained in accordance with accepted test meth-ods and are subject to normal manufacturing variations. They are supplied as a technical service and are subject to change without notice. Therefore, the data contained herein should not beused for specification purposes. Check with your Thermal Ceramics office to obtain current information.

514-700_OrganicVF:RCF Data Sheet Template 2/23/10 9:06 AM Page 1


Organic RCF Vacuum Formed Products

Datasheet CodeUS: 514-700 MSDS Code

US: 203, 211, 260, 27502:2010

page 2 of 2

Physical Properties

KaowoolM PM HP HD A HS HS-45 HT 2600 80 3000

Color beige white beige beige beige beige white yellow blue white pinkDensity, pcf (kg/m3) 16 - 18 16 20 - 23 26 28 28 42 22 - 25 15 25 12

(256 - 288) (256) (320 - 368) (416) (449) (449) (673) (352 - 400) (240) (400) (192)Continuous Temperature Use Limit, °F (°C)

2000 2150 2100 2300 2100 2300 2400 2450 2600 2950 2950(1093) (1177) (1149) (1260) (1149) (1260) (1316) (1343) (1426) (1621) (1621)

Maximum Temperature Rating, °F (°C)2200 2300 2300 2400 2300 2400 2500 2600 2700 3000 3000(1204) (1260) (1260) (1316) (1260) (1316) (1371) (1426) (1482) (1649) (1649)

Modulus of Rupture, psi (MPa)100 - 130 200 - 250 200 150 - 175 250 230 - 260 450 - 550 200 115 75 70(0.69 - 0.90) (1.38 - 1.72) (1.38) (1.03 - 1.21) (1.72) (1.59 - 1.79) (3.10 - 3.79) (1.38) (0.79) (0.52) (0.48)

Compressive Strength, psi (MPa)@ 5% deformation 20 - 30 20 - 30 75 50 - 70 100 60 - 80 200 - 250 75 30 25 20

(0.14 - 0.21) (0.14 - 0.21) (0.52) (0.34 - 0.48) (0.69) (0.41 - 0.55) (1.38 - 1.72) (0.52) (0.21) (0.17) (0.14)@ 10% deformation 30 - 40 30 - 40 100 70 - 90 125 80 - 100 250 - 300 100 40 50 25

(0.21 - 0.28) (0.21 - 0.28) (0.69) (0.48 - 0.62) (0.86) (0.55 - 0.69) (1.72 - 2.07) (0.69) (0.28) (0.34) (0.17)Permanent Linear Shrinkage, %24 hrs. @ 1500°F (816°C)

1.2 0.2 0.7 0.1 - 0.8 0.5 - 0.3 - 0.3@ 1800°F (982°C) 2.2 2.0 1.6 1.4 1.6 1.9 0.7 - 0.3 - 0.1@ 2000°F (1093°C) 2.8 2.4 2.8 2.5 2.8 2.1 0.4 - 0.6 - 0.0@ 2200°F (1204°C) 3.4 3.4 3.8 2.8 3.8 0.2 0.6 2.3 0.7 1.3 0.4@ 2400°F (1316°C) - - - - - +0.3 +0.8 2.6 0.8 1.8 0.5@ 2600°F (1426°C) - - - - - +1.1 - 3.0 - 0.1 0.6@ 2800°F (1538°C) - - - - - - - - - +0.3 +1.5@ 2900°F (1593°C)) - - - - - - - - - - +2.5

Chemical Analysis, %, Weight Basis After FiringAlumina, Al2O3 42 44 41 - 43 41 43 - 45 18 55 50 - 52 51 70 - 72 66Silica, SiO2 56 56 56 - 59 53 54 - 57 81 35 47 - 49 49 25 - 28 34Zirconia, ZrO2 - - - - - - - - - - -Calcium oxide + Magnesium oxide, CaO + MgO

- - - 5 - - 8 - - - -Other - <1 - - <1 - 2 - <1 <1 -Organic material - 3 - 6 - 4 - 7 - 4 - 7 4 - 7 - 6 - 8 - 6 - 8Loss on ignition, L.O.I. 4 - 7 4 - 7 6 - 8 5 - 8 7 - 9 5 - 8 5 - 8 5 - 7 7 - 9 3 - 5 7 - 9

Thermal Conductivity, BTU•in/hr•ft2•°F, (W/m•K), ASTM C 201mean temperature @ 500°F (260°C) 0.5 0.4 0.5 0.6 0.5 0.7 1.0 0.5 0.5 0.5 0.5

(0.08) (0.06) (0.08) (0.09) (0.08) (0.10) (0.15) (0.08) (0.08) (0.08) (0.08)@ 1000°F (538°C) 0.7 0.6 0.7 0.8 0.7 0.8 1.0 0.7 0.7 0.7 0.7

(0.10) (0.09) (0.10) (0.12) (0.10) (0.12) (0.14) (0.10) (0.10) (0.10) (0.10)@ 1500°F (816°C) 1.0 0.9 1.0 1.1 0.9 1.1 1.2 0.9 1.0 0.9 1.0

(0.14) (0.13) (0.14) (0.16) (0.13) (0.16) (0.17) (0.13) (0.15) (0.13) (0.14)@ 2000°F (1093°C) 1.5 1.3 1.4 1.6 1.3 1.6 1.7 1.3 1.5 1.3 1.4

(0.22) (0.19) (0.20) (0.23) (0.19) (0.23) (0.25) (0.19) (0.22) (0.19) (0.20)

Standard Sizes

Thickness, in 1⁄8, 1⁄4, 1⁄2, 1, 11⁄2, 2, 3Length x Width, in. 18 x 6, 18 x 12, 18 x 18

24 x 12, 24 x 18, 24 x 2436 x 6, 36 x 12, 36 x 18, 36 x 24, 36 x 3648 x 12, 48 x 24, 48 x 36

Chemical Properties

Thermal Ceramics products have the capability to withstand chemical attack. Exceptions include hydrofluoric acid, phosphoric acid and strong alkalies. Asmall amount of combustible organic binder will burn out at approximately 300°F. Caution should be exercised during initial heating, ensuring that adequateventiliation is provided to avoid potential flash ignition.

514-700_OrganicVF:RCF Data Sheet Template 2/23/10 9:06 AM Page 2

Product Data 1/05: 5975 Plus: 5976

MIZZOU® CASTABLE Physical Properties: (Typical) English Units SI Units Maximum Temperature 3000°F 1650°C lb/ft3 g/cm3 Material Required 141 2.26 Bulk Density After 220°F (105°C) 145 2.32 After 1500°F (815°C) 141 2.26 Water Required Approximately Weight % Dry Solids 9.4% Working Time 20 Minutes Permanent Linear Change After 220°F (105°C) -0.1% After 1500°F (815°C) -0.2% After 2000°F (1095°C) -0.2% After 2500°F (1370°C) +0.9% After 2900°F (1595°C) +2.8% Modulus of Rupture lb/in2 MPa After 220°F (105°C) 1200 8.3 After 1500°F (815°C) 800 5.5 After 2000°F (1095°C) 600 4.1 After 2500°F (1370°C) 1100 7.6 Cold Crushing Strength After 220°F (105°C) 5500 37.9 After 1500°F (815°C) 3500 24.1 After 2000°F (1095°C) 3000 20.7 After 2500°F (1370°C) 4000 27.6 Particle Size Retained on 4 Mesh Screen Less than 5% Thermal Conductivity At a Mean Temperature of Btu·in/hr·ft2·°F W/m·°C 400°F (205°C) 7.8 1.12 800°F (425°C) 7.7 1.11 1200°F (650°C) 7.6 1.10 1600°F (870°C) 7.5 1.08 2000°F (1095°C) 7.4 1.07 2400°F (1315°C) 7.4 1.07 NOTE: MIZZOU CASTABLE PLUS will typically show 1-3 lb/ft3 lower density and up to 15% lower strength values.

(Continued)

Product Data

MIZZOU® CASTABLE (Continued) Chemical Analysis: (Calcined Basis) Silica (SiO2) 32.4% Alumina (Al2O3) 60.3% Iron Oxide (Fe2O3) 1.4% Titania (TiO2) 2.3% Lime (CaO) 2.6% Magnesia (MgO) 0.4% Alkalies (Na2O & K2O) 0.6% Description: MIZZOU CASTABLE is a high alumina material for use to 3000°F. It has excellent

resistance to numerous different slags, resists vitrification, and actually shows expansion rather than shrinkage at high temperatures. MIZZOU CASTABLE also has superior resistance to spalling and high strength throughout its entire temperature range.

Typical applications are combustion chambers, low temperature incinerators, air heaters,

boilers, burner blocks, aluminum furnace upper sidewalls and roof regions, forge furnaces, and iron foundry ladles.

MIZZOU CASTABLE PLUS is the fast fire version of MIZZOU CASTABLE. The test data shown are based on average results on production samples and are subject to normal variation on individual tests. The test data cannot be taken as minimum or maximum values for specification purposes. ASTM test procedures used when applicable. 01/13/05 Dev.

Product Data 8/05: 5006

‘SAIRSET®

Technical Data: Physical Properties: (Typical) English Units SI Units Maximum Temperature 3000°F 1650°C Refractoriness Test 2910°F (1600°C) Test Temperature No Softening or Flowing Approximate Amount Required per 1000 9" Equivalent: Dipping Consistency 350 - 400 Lbs. 159 - 181 Kg. Water Required (Approximate) Volume per 100 pounds (45.4 kg) Gallons Liters For Laying Brick Troweling Consistency ¼ 0.9 Dipping Consistency 1¼ 4.7 lb/in2 MPa Modulus of Rupture at Joints After 220°F (105°C) 650 4.5 After 1500°F (815°C) 500 3.4 Water Retention A.R.I. Technical Bulletin No. 60 14 Minutes Particle Size Retained on 20 Mesh Screen (0.83mm opening) 0.5% Retained on 35 Mesh Screen (0.42mm opening) 5.0% Chemical Analysis: (Approximate) (Calcined Basis) Silica (SiO2) 59.9% Alumina (Al2O3) 33.3 Titania (TiO2) 2.3 Iron Oxide (Fe2O3) 1.4 Lime (CaO) 0.3 Magnesia (MgO) 0.2 Alkalies (Na2O+K2O) 2.6

(Continued)

Product Data

‘SAIRSET® (Continued) The test data shown are based on average results on production samples and are subject to normal variation on individual tests. The test data cannot be taken as minimum or maximum values for specification purposes. ASTM test procedures used when applicable.

Description: ‘SAIRSET is a wet, high strength, air-setting, high temperature mortar for

temperatures up to 3000°F (1650°C). Uses: Typical applications are for laying high duty, super duty, high fired super

duty, and 50% alumina firebrick. This product was formulated for trowelled mortar joints in brick linings. For dipping consistency, water must be added to the pail.

3/31/92 Dev.

Superwool 607 Blanket AC2

Datasheet Code US: 11-14-135 MSDS Code US: 350

www.morganthermalceramics.com

03:2011 Page 1 of 2

© 2009 Morgan Thermal Ceramics, a business within the Morgan Ceramics Division of The Morgan Crucible Company plc

Superwool 607 Blanket AC2 is made specifically for soundabsorption applications. It has excellent sound absorptioncharacteristics, thermal stability, superior mechanical strengthand vibration resistance. This product combines excellentuniformity with enhanced thermal and acoustical performance.It is flexible, easy to cut, shape and install.

Superwool 607 Blanket AC2 is made of long fibers, needledfrom both sides, and possesses high strength before and afterheating.

TypeAlkaline Earth Silicate (AES) WoolCAS number: 329211-92-9

Classification temperature2012°F (1100°C)

The maximum continuous use temperature depends on the application. In case of doubt, refer to your local Thermal Ceramics representative foradvice.

Features• Low biopersistence• Excellent sound absorption• Thermal stability• Low heat storage• Good resistance to tearing• Flexible and resilient• Immune to thermal shock• Excellent thermal insulating performance• Exonerated under Nota Q of Directive 97/69/EC• Not subject to any use restrictions under German hazardous

substance regulation• Based on patented technology

Applications• HRSG silencers• Mufflers• Sound Walls

Packaging and Typical DimensionsSuperwool 607 Blanket AC2 is packed in cartons packed onpallets 50.4" x 37.6" (1260 mm x 940 mm) + stretch film.

Thickness, in (mm) 2 (50)Width, in (mm) 24, 48 (610, 1220)Length, ft (m) 12 (3.66)

Superwool 607 Blanket AC2


03:2011 Page 2 of 2

Physical Properties Superwool 607 Blanket AC2Classification temperature, °F (°C) 2012°F (1100°C)Color whiteDensity, nominal pcf (kg/m3) 3 (50Tensile strength, psi (kPa) >20 (138)

High Temperature PerformanceLinear shrinkage, % after 24 hours isothermal heating @ 1832°F (1000°C) <1.5

Acoustic PerformanceAirflow resistivity per ASTM C 522 10,000 - 15,000 Rayls/m

Chemical PropertiesSilica, SiO2 60 - 70%Alumina, Al2O3 <0.3%Calcium oxide + Magnesium oxide, CaO + MgO 25 - 40%Leachable Chlorides <10 ppm

Thermal Conductivity, BTU•in./hr•ft2•°F (W/m•k) (ASTM C201)Mean temperature, 3 pcf@ 392°F (200°C) 0.62 (0.09)@ 572°F (300°C) 0.97 (0.14)@ 752°F (400°C) 1.53 (0.22)@ 932°F (500°C) 2.22 (0.32)@ 1112°F (600°C) 3.05 (0.44)

The values given herein are typical average values obtained in accordance with accepted test methods and are subject to normal manufacturing variations. Theyare supplied as a technical service and are subject to change without notice. Therefore, the data contained herein should not be used for specification purposes.Check with your Thermal Ceramics office to obtain current information.

This product may be covered by one or more of the following patents or foreign equivalents: US5332699, US5714421, US5811360, US5821183, US5928975,US5955389, US5994247, US6180546, EP0906250, GB2348640. A list of foreign patent numbers is available upon request to The Morgan Crucible Company plc.Thermal Ceramics, Superwool and 607 are trademarks of The Morgan Crucible Company plc.


Superwool® Vacuum Formed Products

Datasheet CodeUS: 11-14-115

MSDS CodeUS: 354, RP350, RP401

02:2010page 1 of 2

Product Description

Superwool boards are processed from a slurry consisting ofSuperwool bulk fiber and organic binders. Each board has cutedges for controlled squareness and trueness. Boards up to36” wide may be ordered with both surfaces machinedsmooth to a close thickness tolerance.

Superwool is a low biopersistent fiber, manufactured from pure

raw materials and processed to offer excellent performance

in high-temperature applications. Superwool offers an alter-

native to traditional solutions due to its high refractoriness and

excellent non-wetting characteristics with molten aluminum.

Superwool provides stability and resistance to chemical attack.

Exceptions include hydrofluoric acid, phosphoric acid and

strong alkalies (i.e. NaOH, KOH). Superwool is unaffected by

incidental spills of oil or water. Thermal and physical proper-

ties are restored after drying.

Superwool is ideally suited to individual applications and is

available in a wide range of thicknesses and densities. The

maximum continuous use temperature depends on the appli-

cation. Refer to your local Thermal Ceramics representative

for advise.

Type

Alkaline Earth Silicate (AES) Wool

CAS number: 329211-92-9

Features

• Rigid, self-supporting fiber insulation• Available in a variety of sizes and thicknesses• Based on patented technology• Reduces thickness of backup insulation up to 50% whenreplacing insulating firebrick or castables

• Low thermal conductivity and heat storage• Non-wetting to molten aluminum

Applications

• Molten aluminum contact• Furnace, kiln, and oven hot face linings• Flue and chimney linings• Insulation as backup to:- firebrick- insulating firebrick- refractory castables- rammed shapes

• Appliance and heat processing insulation

1114-115_SWBoards:RCF Data Sheet Template 5/25/10 9:34 AM Page 1


Superwool® Vacuum Formed Products

Datasheet CodeUS: 11-14-115

MSDS CodeUS: 354, RP350, RP401

02:2010page 2 of 2

Physical Properties

Superwool Superwool Superwool Superwool Superwool Superwool607 607 Minimox 607 PM I-607 Alfibond 607 607 HT

Color white white beige white white whiteContinuous use limit, °F (°C) 1832 (1000) 1832 (1000) 1832 (1000) 1832 (1000) 1832 (1000) 2150 (1177)Maximum use limit,°F (°C) 2012 (1100) 2012 (1100) 2012 (1100) 2012 (1100) 2012 (1100) 2372 (1275)Melting point, °F (°C) 2327 (1275) 2327 (1275) 2327 (1275) 2327 (1275) 2327 (1275) -Density, pcf 20 - 22 14 - 16 15 - 17 15 - 17 23 - 27 20 - 22(kg/m3) (320 - 350) (224 - 256) (240 - 270) (240 - 270) (368 - 432) (320 - 352)Modulus of rupture, psi 300 300 200 - 250 - - 200 - 250(MPa) (2) (2) (1.4 - 1.7) - - (1.4 - 1.7)Compressive strength, psi (Mpa)@ 5% deformation 55 (0.38) 55 (0.38) 15 - 25 - - 60

(0.10 - 0.17) (0.41)@ 10% deformation 60 (0.41) 60 (0.41) 23 - 40 - - 70

(0.16 - 0.28) (0.48)Permanent Linear change, %24 hrs @ 1500°F (816°C) 2.0 2.0 - 2.2 - 0.2524 hrs @ 1800°F (982°C) 2.5 2.5 1.0 2.3 - 0.25

Chemical Analysis, %

Silica, SiO2 67 69 67 70 50 70 - 80Alumina, Al2O3 trace trace trace trace 29 -Calcium Oxide + Magnesium Oxide, CaO + MgO

27 26 27 24 17 18 - 25Other 1 1 1 <1 <1 <3Loss of ignition 4 - 7 4 - 7 2 - 4 1.3 6 - 9 3 - 6Organic material 3 - 6 <3 - trace trace -

Thermal Conductivity, Btu•in/hr•ft2•°F (w/m•k), ASTM 201

Mean temperature@ 500°F (260°C) 0.39 (0.06) 0.39 (0.06) 0.40 (0.06) 0.43 (0.06) 0.60 (0.08) 0.40@ 1000°F (538°C) 0.65 (0.09) 0.65 (0.09) 0.62 (0.09) 0.66 (0.10) 0.86 (0.12) 0.62@ 1500°F (816°C) 1.04 (0.15) 1.04 (0.15) 0.99 (0.14) 1.01 (0.15) 1.23 (0.18) 1.04@ 1800°F (982°C) 1.35 (0.19) 1.35 (0.19) - - - -@ 2000°F (1093°C) - - - - 1.77 (0.25) 1.51

Standard Sizes

Thickness range, in 1⁄2 - 3 1⁄2 - 3 1⁄8 - 1⁄4 1⁄2 - 6 1⁄2 - 6 1⁄2 - 3(mm) (12.5 - 75) (12.5 - 75) (13.2 - 6.4) (12.5 - 150) (12.5 - 150) (12.5 - 75)Standard board sizes, in (mm)

18 x 24 (450 x 600), 36 x 24 (900 x 600), 18 x 48 (450 x 1200), 36 x 48 (900 x 1200)

The values given herein are typical average values obtained in accordance with ac-

cepted test methods and are subject to normal manufacturing variations. They are sup-

plied as a technical service and are subject to change without notice. Therefore, the

data contained herein should not be used for specification purposes. Check with your

Thermal Ceramics office to obtain current information.

This product may be covered by one or more of the following patents or foreign equivalents:

US5332699, US5714421, US5811360, US5821183, US5928975, US5955389, US5994247,

US6180546, EP0906250, GB2348640. A list of foreign patent numbers is available upon request

to The Morgan Crucible Company plc. Thermal Ceramics, Superwool, 607 and MAX are trade-

marks of The Morgan Crucible Company plc.

1114-115_SWBoards:RCF Data Sheet Template 5/25/10 9:34 AM Page 2

K®-23, TC™-23, IFB 23 Tile, K-25

Datasheet Code US: 1-14-3 MSDS Code US: 151-1


01:2013 Page 1 of 2


DescriptionThermal Ceramics was first to introduce insulating firebrick(IFB) to the industry in the 1930’s. The K-IFB aremanufactured with a unique slurry casting process whichcreates a network of microporosity that produces low thermalconductivity and good thermal shock characteristics. Thisprocess produces brick that are some of the most efficientinsulators available in the market. The high temperature firingand resultant anorthite mineralogy (CaO • Al2O3 • 2 SiO2) ofthese low temperature K-IFB gives them excellent strengthatoperating temperatures and resistance to corrosive alkali environments.

K-23 is a 2300°F (1260°C) rated “flagship” IFB• Low density• High hot strengths• Good thermal stability• Ultra low thermal conductivity

TC-23 is a 2300°F (1260°C) rated economical IFB• Properties close to K-23• Slightly lower appearance standard

IFB 23 Tile is 2300°F (1260°C) rated tile brick• Large shape format

K-25 is a 2500°F (1371°C) rated IFB• Low shrinkage at use limit• Excellent insulation stability

Features• Extremely low thermal conductivity• Low densities• Low heat storage• Good strength at room and high temperatures• Excellent resistance to alkali attack

Applications• Backup insulation for carbon baking furnaces• Backup insulation in aluminum electrolytic cells• Electrical kilns for industrial and hobby use• Backup insulation for blast furnace stove linings• Linings for carbonizing furnaces• Forge furnace linings• Heat transfer linings

Insula t ing Our Wor ld

K®-23, TC™-23, IFB 23 Tile, K-25

Insula t ing Our Wor ld


01:2013 Page 2 of 2

Physical Properties K-23 TC-23 IFB 23 Tile K-25Recommended Hot Face use limit,°F (°C) 2300 (1260) 2300 (1260) 2300 (1260) 2500 (1371)Density, ASTM C 134lb/9" straight (kg) 1.93 (0.87) 1.9 (0.85) 2.2 (1.0) 2.3 (1.05)pcf (kg/m3) 31 - 35 (497-560) 30 - 36 (480 - 576) 37 (593) 38 - 41 (593-641)Melting temperature,°F 2750 (1510) 2750 (1510) 2750 (1510) 2800 (1538)Modulus of rupture, ASTM C 133psi (MPa) 115 (0.79) 105 (0.72) 105 (0.72) 135 (0.93)Cold crushing strength, ASTM C 133psi (MPa) 145 (1.0) 125 (0.86) 125 (0.86) 200 (1.38)Permanent linear change, %, per ASTM C 210@ 2250°F (1232°C) 0 to -0.1 -0.2 0 to -0.1 -@ 2450°F (1343°C) - - - -0.3Deformation under hot load, % @ 10 psi, ASTM C 1611⁄2 hr @ 2000°F (1093°C) 0 0.1 0 011⁄2 hr @ 2200°F (1204°C) 0.3 - - 0.1Coefficeint of thermal expansionin/in°Fx10-6 3 3 - 3.1

Chemical Analysis, %Alumina, Al2O3 38 38 38.5 46Silica, SiO2 45 45 47.5 37.5Ferric oxide, Fe2O3 0.3 0.3 0.4 0.3Titanium oxide, TiO2 1.6 1.6 1.6 1.4Calcium oxide, CaO 15 15 11 14Magnesium oxide, MgO 0.1 0.1 0.2 0.1Alkalies, as, Na2O and K2O 0.5 0.5 0.3 0.4

Thermal Conductivity, BTU•in./hr•ft2•°F (W/m•K), ASTM C 201Mean temperature@ 500°F (260°C) 0.92 (0.13) 0.95 (0.13) 1.0 (0.14) 1.06 (0.15)@ 1000°F (538°C) 1.14 (0.16) 1.2 (0.17) 1.3 (0.18) 1.22 (0.18)@ 1500°F (815°C) 1.39 (0.20) 1.5 (0.22) 1.6 (0.23) 1.38 (0.20)@ 2000°F (1093°C) 1.64 (0.24) 1.7 (0.24) 1.8 (0.25) 1.54 (0.22)

Standard Sizes*K-23, TC-23, K-259" x 41⁄2" x 21⁄2" (229mm x 114mm x 63mm)9" x 41⁄2" x 3" (229mm x 114mm x 76mm)9” x 6” x 3” (229mm x 152mm x 76mm)9” x 63⁄4” x 3” (229mm x 171mm x 76mm)131⁄2” x 41⁄2” x 3” (343mm x 114mm x 76mm)IFB 23 Tile9" x 9" x 3" to 241⁄2" x 9" x 3" (229mm x 229mm x 76mm to 622mm x 229mm x 76mm)

* Special sizes available upon request, including arch, wedge and key shapes.

The values given herein are typical average values obtained in accordance with accepted test methods and are subject to normal manufacturing variations.They are supplied as a technical service and are subject to change without notice. Therefore, the data contained herein should not be used for specificationpurposes. Check with your Thermal Ceramics office to obtain current information.

Tri-Mor® Kaolite® 2800, 3000, 3300Datasheet Code US: 3-14-104 MSDS Code US: 117, 153, 101

www.morganthermalceramics.com03:2013 Page 1 of 2


Product DescriptionKaolite 2800 is a general-purpose insulating castable for useat temperatures up to 2800°F (1538°C). It may be cast orgunited in place. It contains a high-purity, calcium-aluminatecement for improved strength and volume stability.

Kaolite 3000 is a lightweight 60% alumina insulating castablefor use up to 3000°F (1649°C) that is specifically designed forgunning or casting. This mix utilizes a high-purity calcium-aluminate cement that is specifically chosen for its gunitingcharacteristics.

Kaolite 3300 is a high strength bubble alumina, lightweightcastable with a high-purity binder. It contains less than 0.2%iron oxide and 0.5% silica. Kaolite 3300 is recommended fortransfer lines to secondary ammonia reformers, and otherapplications where resistance to hydrogen atmospheres andsilica pickup is critical.

Features• Low thermal conductivity• Reduction of the quantity of heat storage and heat transferproduce significant savings in fuel consumption• Temperature range up to 3300°F (1816°C)

Instructions For UsingHighest strength is obtained with castable refractory by usingthe least amount of clean mixing water which will allowthorough working of material into place with a vibrator or byrodding. A mechanical mixer is required for proper placement(paddle-type mortar mixers are best suited). After adding therecommended amount of water to achieve a ball-in-handconsistency, mix for 3 minutes. Place material within 30minutes after mixing.

PrecautionsStore bagged castables in a dry place, off the ground and,when possible, with the original shrink wrapping intact.

Watertight forms must be used when placing material. Allporous surfaces that will come in contact with the materialmust be waterproofed with a suitable coating or membrane.

For maximum strength, cure 24 hours under damp conditionsbefore initial heat-up. Keep freshly placed castable warmduring cold weather, ideally between 70°F and 80°F (21°C to 27°C).

New castable installations must be heated slowly the first time.

Freshly placed lightweight castable are prone to adeteriorating condition called alkali hydrolysis when they arekept in a non-dried state for a sustained period of time in awarm, humid environment. Under these conditions, thecastable should be force-dried soon after placement to helpretard the possible deterioration effects.

For more information on castable placement, consult your ThermalCeramics representative.

Insu la t ing Our Wor ld

Tri-Mor® Kaolite® 2800, 3000, 3300

Insu la t ing Our Wor ld

www.morganthermalceramics.com03:2013 Page 2 of 2

Physical Properties3

2800 3000 3300Recommended use limit, °F (°C) 2800 (1538) 3000 (1649) 3300 (1815)Pounds req. to place one cubic ft1 (kg) 96 (44) 103 (47) 97 (44)Method of installation cast/gun cast/gun castWater ranges, % by weight, recommended2Casting (by vibrating) 19 - 24 14 - 20 11 - 13 Density, fired, pcf (kg/m3) 87 - 105 (1394 - 1682) 97 - 108 (1554 - 1730) 94 - 102 (1505 - 1634) Pounds per bag (kg) 50 (23) 50 (23) 50 (23)Shelf life, months 12 12 12Modulus of rupture, ASTM C 133, psi (Mpa)Dried 18-24 hrs. @ 220°F (104°C) 300 - 500 (2.06 - 3.44) 350 - 600 (2.41 - 4.14) 700 - 1200 (4.83 - 8.27)Fired 5 hrs. @ 1500°F (816°C) 250 - 400 (1.55 - 2.41) 300 - 550 (2.06 - 3.79) 600 - 1000 (4.14 - 6.89)Fired 5 hrs. @ use limit 600 - 1000 (4.14 - 6.89) 850 - 1000 (5.86 - 6.9) 1000 - 1850 (6.9 - 12.8)Cold crushing strength, psi (Mpa) Dried 18-24 hrs. @ 220°F (104°C) 900 - 1200 (6.21 - 8.27) 900 - 1700 (6.21 - 11.7) 2000 - 3500 (13.8 - 24.1)Fired 5 hrs. @ 1500°F (816°C) 800 - 1500 (5.51 - 10.34) 800 - 1500 (5.51 - 10.34) 1600 - 3000 (11.0 - 20.7)Fired 5 hrs. @ use limit 1200 - 2500 (8.27 - 17.24) 1400 - 2200 (9.65 - 15.2) 3000 - 4000 (20.7 - 27.6)Perm. linear change, % (ASTM C 113)4Dried 18-24 hrs. @ 220°F (104°C) 0 to -0.2 0 to -0.2 0 to -0.2Fired 5 hrs. @ 1500°F (816°C) -0.4 to -0.8 -0.1 to -0.3 -0.1 to -0.3Fired 5 hrs. @ use limit -0.8 to +0.8 -1.0 to -2.5 0 to -0.6

Chemical Analysis, %, Weight basis after firingAlumina, Al2O3 53 58 945Silica, SiO2 37 35 0.5Ferric oxide, Fe2O3 1.0 1.0 0.2Titanium oxide, TiO2 1.8 0.6 –Calcium oxide , CaO 5.9 5.6 4.6Magnesium oxide, MgO 0.4 0.2 0.1Alkalies, as, Na2O 1.1 0.4 0.5

Thermal Conductivity, BTU•in./hr•ft2•°F (W/(m•k), ASTM C 417Mean temperature@ 500°F (260°C) 3.4 (0.49) 3.6* (0.52) 9.9 (1.43)@ 1000°F (538°C) 3.7 (0.53) 3.7 (0.53) 8.2 (1.18)@ 1500°F (816°C) 3.9 (0.56) 3.9 (0.56) 7.4 (1.07)@ 2000°F (1093°C) 4.2 (0.61) 4.3 (0.62) 7.5 (1.08)@ 2500°F (1371°C) 4.5 (0.64) 4.8 (0.69) 8.0 (1.15)

* Thermal conductivity for Kaolite 3000 is estimated.

1. Gunite installation may require 10-30% overage due to rebound and on-site loss.2. Water requirements indicated are offered as a guide. Actual water required may be subject to field conditions.3. Properties indicated are for vibratory cast materials only unless specified otherwise.4. Fired linear change values reflect samples taken from a dried to fired state.5. If spec value on SiO2 required, then need to request Kaolite 3300-LS.

Compliance data sheets for specific applications or job requirements are available upon request.

The values given herein are typical average values obtained in accordance with accepted test methods and are subject to normal manufacturing variations. Theyare supplied as a technical service and are subject to change without notice. Therefore, the data contained herein should not be used for specification purposes.Check with your Morgan Thermal Ceramics office to obtain current information.


1

PresenterKen Turner

Potters Council Conference

"Alternative Firing Surfaces" October 11-13, 2013

Minneapolis, Minnesota Presented by Potters Council Hosted by Edina Art Center

Aluminum Foil Saggar Firing Handout – Ken Turner

Saggars are simply refractory containers designed to subject the ceramic work placed in it to an atmosphere of the makers’ choice. Whether you are trying to protect the work from the kilns atmosphere as in the case of Song and Ming Dynasty porcelain. Or influencing the atmosphere within the saggar, by creating an environment of carbon and fumes from the combustion of organic and inorganic materials and metallic salts. These materials volatize during the firing process and impart stunning surface effects to the ceramic work.

Although saggars can be made of many things, brick, clay flowerpots, tin cans, paper bags dipped in refractory slip to name a few, we are focusing on aluminum foil saggars and very low temperature firing.

There are a lot of aluminum foil products on the market but not all are created equal. I have found the less expensive foils, being thinner, tend to burn up sooner than the Heavy Duty Reynolds Wrap (my wrap of choice). I pick up the two-pack at Costco when it’s on sale so I have it around when I need it.

The melting point for aluminum foil is 1221°F (The melting point of the foil, which is about 97% aluminum) is the same as that of aluminum, that ‘s the simple fact. When researching aluminum foil saggar firing reported temperatures of melting aluminum foil vary a great deal, from 1100°F to as high as 1500°F. These reported temperatures for this firing technique are all over the map because as with any firing, these firings are influenced by many factors. What foil you are using, how many sheets of foil you wrap your work in (more layers = more insulation), how much work is in the kiln, is it tumble stacked and insulated by other work around it, hot and cold spots in the kiln, how fast the kiln temp rises and the quality of pyrometer and thermocouple are main factors but the thickness of the work also plays a role along with what combustible material and how much is used. All of the aforementioned are what we ceramist understand as “heat work”. The use of cones is not that helpful as they tend to take too long to mature for the quick fire method I prefer to use. I have burned foil at Δ 019 in an electric kiln (not recommended as the vapor can damage and shorten the life of your electric elements) using “Cone Fire Fast settings. You are

better off to program a full ramp (9999) to desired temperature depending on your kiln (insulation, elements, etc.) perhaps 1150°F or so. Anyway, I prefer to visually monitor the foil, for me this is the best way to determine when the work is ready. The strong odor of hydrochloric acid is a good indicator the firing is close to done (not a good smell and not good to inhale). I watch for the foil to begin to loose its sheen. It will begin to puff up like “Jiffy Pop” popcorn and turn gray in color. The foil becomes ash and you will find beads of aluminum if over fired, but don’t be alarmed you can still obtain great results if this happens. For the sake of communicating a better understanding of my firing approach, I used my pyrometer and will defer to the read out temps and time. I’ve fired my kiln to temp. in as little as 27 minutes but I prefer the results I get firing my clamshell kiln to approximately 1468°F in about 45 min. In the first 15 min. my kiln is over 1000°F. In another 15-16 min. the temp reaches 1336 - 39°F and the foil is turning gray. Five more min. at 1396°F all the foil is beautifully even and gray. Another 8 min. at 1468°F, I shut the kiln off. This firing was 44 min. start to finish, the next firing who knows?

We are firing at the very lowest end of these chemical metallic salts volatilization point. If you wish to experiment with higher temps using foil there are products on the market that will allow you to do so but are not cost effective.

Chemical Solutions: Assume all of these solutions are dangerous and handle them with do caution and care. I recommended using Nitrile gloves and a well fitting respirator with NIOSH approved cartridges for fumes, vapors and gasses when applying to and handling your work. The respirator is also recommended when hanging around the firing kiln.

Ferric Chloride or Etchant solution is one of the most reactive and therefore widely used metallic salts for low-fire surface enhancement. Its iron base contributes yellows through soft pinks if diluted with water. Used full strength oranges, browns, reds and purples are possible. It is very reactive with the foil. The solution contains Iron chloride and hydrochloric acid. It is corrosive and reacts with most metals. It can be neutralized with soda ash or lime but that produces carbon dioxide, which is also dangerous in confined areas. Small amounts are sometimes available at Radio Shack for around $10.00. Gallon size containers can be purchased at art supply stores like Daniel Smith for around $20.00. Or if you have an inner Mr. Science lurking in you, you can make your own with iron oxide or steel wool, Muriatic acid and hydrogen peroxide. There are plenty of instructions on the Internet, but do be carful.

Solutions:

Copper Sulfate Solution: 100 grams to 1 pint of hot water. Produces very light greens and pinks to red in some cases.

Cupric Chloride solution can also be made from these materials: Water 100ml., hydrochloric or muriatic acid (23%) 50ml. and hydrogen peroxide (30%) 50ml. and copper wire or any source of copper available 10 grams. Caution! This produces hydrochloric acid fumes! Very light green by its self, stronger reaction when applied over or under another metallic solution.

Copper Carbonate and water is much less harmful and will also produce light greens, pinks and reds.

Cobalt Sulfate Solution: 100 grams to 1 pint of hot water. Produces grays and blues and reacts nicely with the foil. Also stronger reaction when applied over or under another metallic solution.

Potassium Dichromate Solution: 100 grams to 1 pint of hot water. This is “Mr. Nasty” be especially carful with this chemical in powder form or solution it is very dangerous. It produces beautiful greens from subdued army green to harsh chrome green and is very reactive with the foil.

Sodium Chloride (table salt) and Magnesium Chloride (Epsom salt) can be made into saturate solutions by adding the material to hot water until it can dissolve no more. Whites, soft yellows and pinks are produced from these.

Other solutions may be experimented with just be careful.

Application: These solutions can be sprayed, poured, dipped, brushed and sponged on to your work. If spraying use a nonmetallic plastic sprayer and be very careful of draft, wind conditions and environment. If brushing use inexpensive wood or plastic handle foam brushes. Dipping or pouring, use plastic containers.

Dry Materials:

Course table salt

Sugar

All above solutions in their respective dry chemical form.

Inorganic Materials:

Course steel wool

Fine steel wool

Horsehair

Copper tined wire

Chore boy copper scrubbers

Masking tapes

Glue sticks and spray adhesives can be use to adhere materials to your work but will have its own influence on the outcome of the work.

Organic Materials:

The list is endless from banana skin to seaweed to dry cat food, I prefer to use what ever is available and green not dry.

Sisal or jute twine is great alone or soaked in salt solutions, added to the work wet or dry.

Potters Council Conference

"Alternative Firing Surfaces" October 11-13, 2013

Minneapolis, Minnesota Presented by Potters Council Hosted by Edina Art Center

Terra Sigillata Polishing and Burnishing Handout - Ken Turner Is a very thin, deflocculated clay slip containing only the finniest of clay particles less than a micron (1/1000 of a mm) in size. Applied properly and polished it produces a glass like shine to the surface of a clay pot, sculpture or tile. This surface lends its self beautifully to nearly all lowfire techniques. The glossy quality, a result of flattening the clay platelets so that they reflect light will remain through firings up to cone 02. As higher temperatures are reached and greater shrinkage occurs the glossy surface begin to diminish as the clay platelets orientation is disturbed. I have fired a terra sigillata made from OM-4 Ball clay to cone 10 with beautiful results, just not the glossy quality achieved at lower temps. Terra Sig can be made from nearly all clays but coarser clays will produce less sig per batch. There are many recipes for Terra Sigillata available and they are very simple, clay, water and a deflocculent. The process for making it varies from the “hillbilly method” to the scientific approach; they all seem to work to varying degrees. It may also be available for purchase at your local pottery supply; Clay Art Center in Tacoma, WA www.clayartcenter.net/ produces a verity of beautiful sig’s. This is the recipe I have used with great success. Credit goes to Vince Pitelka, whose exhaustive research has produced a plethora of information we can all benefit form. Go to Vince’s website: http://iweb.tntech.edu/wpitelka/index.htm where he has generously posted information on terra sig and many other clay related topics of interest. Super-Refined Terra Sigillata Formula In a 5 gal. bucket mix the following materials using the method described below. OM-4 Ball Clay 11. 00 lbs. or 4 989.516 07 gram or 5000.00 grams Soda Ash 0.027 lbs. 12.246 993 99 gram 12.25 grams Sodium Silicate 0.027 lbs. 12.246 993 99 gram 12.25 grams Dissolve the soda ash in a small amount of hot water then add the sodium silicate. Add this solution to about 5.5 quarts of cold and stir in the dry clay. When mixed well add cold water until you reach a Specific Gravity reading of 1.15. Mix well and let stand for 20 hrs. With a racking cane siphon off the terra

sig including the clear water at the top as this contains the finest particles (most recipes will tell you to through this out with the sludge at the bottom. I use large bisque fired drying vats that I made for evaporating the water off. This can take quite some time depending on where you live (rainy NW here). Once the sig has become concentrated return it to a container add water to adjust the specific gravity and it is ready for use. Vince Pitelka goes in to great detail as to how to process your sig on his website. Polishing & Burnishing Burnished clay also produces a glassy excellence but the surface quality will begin break down and loose its glossy quality when fired past cone 012. The burnishing process is much more labor intensive than simply brushing and polishing terra sig. After sanding (I use 120 mesh drywall sanding screen) and cleaning the bone-dry piece apply 3-6 coats of terra sig with a very soft brush. Too many coats, or too thick will promote cracking and pealing. When the liquid is absorbed and the surface dulls you can begin to polish. If you choose to go the route of burnishing, you may coat the sanded and cleaned work with light oil; a trick I learned from Juan Quezada. The oil (baby oil in Juan’s case, but other oils work as well) will soak into the work incorporating the fine clay dust from sanding creating a smoother surface to begin with. When burnishing with a hard surface tool you can apply moisture to the area being burnished with a slightly damp cloth. This provides enough moisture to work the area to a highly compressed and glossy surface before moving to another area. The temptation to apply terra sig over the burnished pot is great but beware by burnishing the surface so smooth the terra sig has little to grip to and may peal. I have had beautiful results raising the grain of the burnished piece by polishing the surface with the same slightly damp cloth prior to applying the thinnest possible coating of terra sig and polishing with a plastic bag. The surface each time I’ve done this has shown cracking in the terra sig following the bisque fire. Terra sig only requires polishing and everyone has their favorite material to polish with from simply using your hands to space age microfiber. I’m somewhere in between using plastic, but always open to new products. Burnish your terra sig. may be counter productive, it takes more time requiring the use of oil to keep the sig from drying too quickly and will crack the surface of the terra sig. This can be a beautiful effect in less it’s not what you are looking for. The terra sig surfaces are soft a prone to scratching so handle them carefully. I bisque my work at cone 010 if I want a glossier finish, many believe but the lower bisque leaves the body more open allowing for more carbonization. I’m not

convinced I can detect it with my eye although it does make sense. I’ve seen beautiful work emerge from the kiln that was bisque fired at cone 04. Can I apply terra sig on my bisque ware? Yes, however apply very thin coats, 2 to 3 at the most. It takes longer to absorb and your polish should be very light. Make sure you re-bisque fire the work prior to the atmospheric firing. This can be a very good technique when working with very thin and delicate pieces. Once the work is fired and cleaned up you can chose from a number of room temperature sealants (liquid & past waxes and shoe polishes to spray acrylics) that will give you the finish you desire; mat, semi-mat, gloss to high-gloss and make the surface of your work come alive! Images on my website will give you a visual aid for the process I use for preparing my work for the application and polishing of terra sigillata. Ken Turner Pottery Seattle, WA http://www.kenturnerpottery.com


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PresenterSumi von Dassow


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Sumi von Dassow [email protected]

Golden, OC www.herwheel.com

ALTERNATIVE FIRING SURFACES (Sunday presentation)

Making and Using Terra Sigillata and Burnishing with a Stone

White Terra Sigillata

2100 grams (2.1 liters) water1000 grams OM4 Ball Clay25 grams Darvan 7 or Darvan 811

Red terra sigillata

2200 grams (2.2 liters) water1000 grams Newman Red clay30 grams Darvan 7 or 811

Measure water into a large glass or clear plastic jar with a wide mouth.

Add Darvan and stir.

Add clay and shake vigorously.

Leave undisturbed to settle for three hours. You will see a dark layer of sludge at the bottom of the container.

Siphon off the liquid portion above the layer of sludge. Be careful you don’t pick up any of the sludge.

Discard the bottom layer of sludge.

Try the terra sig on a dry test tile. If it doesn’t give an adequate shine or still feels gritty when you rub it with your fingers, let it sit for another 12 – 24 hours, siphon again and discard the new sludge. One sign that you have a bad batch of terra sig is if it soaks in and dries very quickly.

If there are dark specks in the terra sig, put it through a 200-mesh sieve. Even if there aren’t dark specks it won’t hurt to screen it anyway.


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It should be about the right consistency to use right away (a specific gravity of 1.15) but if you want it thicker, let it evaporate for a day or two.

Using a soft brush or an airbrush, apply two or three coats to bone dry ware, allow to dry just until the surface isn’t wet, and burnish with fingers, a soft cloth, a nylon stocking, a chamois, a car-polishing mitt, or a plastic grocery bag. Don’t touch the wet surface, and make sure your polishing cloth is very clean. For the greatest shine, apply three thin coats, polishing between coats.

For colors, add oxides or stains after settling. If you add too much, the terra sig won’t burnish as well because these materials have a larger particle size than terra sigillata.Burnishing with a stone:

I use Navajo Wheel from Industrial Minerals Co. in Sacramento, California. This cone 6 red clay is smooth and very strong even when fired to a very low temperature and can be smoked to a rich black. For a white body I use B-mix cone 5 from Laguna Clay Company.

A suitable burnishing stone can be found at any lapidary shop, and often in museum gift shops or flea markets. Look for a stone which is large enough to grasp easily, and has at least one perfectly smooth, slightly rounded surface. Any nick, bump, or sharp edge is likely to scratch the pot as it is being burnished; you can check a stone for nicks by running your fingernail over it.

Start with a small rounded pot. To prepare it for burnishing, the pot should be sanded perfectly smooth when it is bone dry.

You also need a towel or rag, a bowl of water and bit of vegetable oil.

Step One: Wet the whole pot, inside and out, rubbing the water in quite thoroughly with your fingers.

Step Two: Re-wet one small patch at a time with a finger and rub with the stone until the clay be-comes smooth and takes on a dull sheen. The towel or rag is needed to wipe extra water off your finger and to wipe the stone clean as necessary. You need to rub the water into the clay before you start rubbing with the stone.

It is important to start at the rim, burnish the whole rim, then burnish all the way around just below the rim, continuing this way in a slightly overlapping spiral pattern from the rim towards the foot. Once a burnished patch has dried, if you rub it again with the stone you will scratch it. For this reason, once you begin you can’t stop until you’re finished. Working in a spiral pattern ensures that you are never working on a patch adjacent to a section that has completely dried: by the time you are working on the bottom, the top - which may have been burnished an hour ago - is completely dry again, but the bottom inch or two are still damp and can still be safely rubbed with the stone.


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Step Three: Immediately cover the entire pot with a light coating of vegetable oil.

Step Four: Wait for the oil to soak in and leave a whitish scum on the surface. Rub the pot again with the stone. This step is much faster than the first, and it doesn’t matter what part of the pot is re-burnished first. If there are patches of wet oil, you can work around them and re-burnish the parts which are ready. During this step the pot will be easily marred by fingerprints and should be held with a hand inside. This will also help you avoid rubbing the oil off while you work. Lightly rubbing the pot with a chamois after oiling and re-burnishing will remove any extra oil and slightly improve the sheen.

The burnished pot can be decorated before firing by incising or by painting with terra sigillata or slip, or it can be immediately bisque-fired to cone 018.

For more on burnishing and using terra sigillata, please refer to my book “Low-Firing and Burnishing” or my DVD “Pit Firing and Burnishing.”

Have fun!


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How is the pit constructed?

It’s about 3-4 feet wide and 6 feet long.IIt has one or two pipes along the bottom to bring air into the pit. These pipes have rows of small holes punched along both sides to channel the air evenly into all parts of the pit. A blower is used to blow air into the pipes during the firing. This can be a raku blower, a leaf blow-er, perhaps a shop vac or a fan. A raku blower is quiet and adjustable.

What goes into the pit for a pit firing?wood shavings (about 4-6 inches deep in bottom of pit)

used horse stall bedding (dried). About four clay boxes for a 4 x 6’ pit

coffee grounds (about two clay boxes, emptied out of the filters)

plain table salt (most of a one-pound canister)

pots

seaweed if available (from the beach, dried but not washed)

anything that can be soaked in salt water and dried, such as corn husks, pine needles, iris leaves, spaghnum moss, spanish moss, string, rags...

the coffee filters that you dumped the grounds out of

crumpled newspaper

hardwood scraps for kindling

firewood – aspen, cottonwood, or poplar, very dry pine, apple wood, other hard woods. Harder woods need to be in smaller chunks than soft woods.

More newspaper

Copper carbonate mixed with wood shavings (½ cup or so, mixed with a couple of quarts of shav-ings) to be tossed in after the fire is lighted

Sumi von Dassow [email protected]

Golden, OC www.herwheel.com


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What is the process of pit firing?pour in wood shaving and the next 3 ingredients

lightly rake the salt into the top layer

nestle pots into the shaving mixture. They can touch and small items can go inside larger ones with a handful of shavings and a bit of salt. I just do one layer of pots and I try to make sure all pots are near the air pipes. Pots may be behind smaller pots, but not behind large pots that will block all the air

place seaweed around pots – not too much, as the salt can fuse onto the pots in the firing and form crusty patches

scatter other salt-soaked materials on top of pots, then coffee filters and newspaper. Use enough newspaper to hide the pots and cushion them from the wood

stack wood on just as you would in a camp-firing, criss-crossing sticks for air flow.

Tuck newspaper in between pieces of wood and light the fire

when the fire is burning hot and evenly across the pit, throw the copper carbonate mixture in by handfuls, trying to spread it evenly.

Cover pit loosely with sheets of galvanized metal, lifted up on small stacks of bricks or rocks to leave space all around for air flow

after a couple of minutes, turn on the blower and adjust to get a good flame but not so much flame that it is licking out all around.

As the fire burns down and stops smoking, lower the sheets of metal partway, still leaving space all around for air flow.

After several hours, when there are no more active flames and you can see the air pipes exposed through the ashes, turn off the blower, cover the pit tightly, and leave to smolder overnight.

How are pots prepared for pit firing? Use a smooth white or light-colored stoneware clay. A light-colored clay body gives you greater range of color in pit firing, but porcelain may not pick up much color and may be too fragile

Burnish with a stone or apply terra sigillata. Buff clays might pick up better color than white clays if you are burnishing with a stone. You can use white or red terra sigillata, or color the terra sigillata with small amounts of mason stains, but the darker the terra sigillata is, the less range of color you will pick up from the firing

Bisque-fire to cone 010. Pots bisqued to a higher temperature may not pick up as much color


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After the firing, how are the pots finished?Pots can be rinsed and lightly scrubbed if necessary (to get ashes off)

You can try to gently scrape small rough patches off with a metal rib. Some roughness may be unavoidable

You can seal the pot with paste wax or acrylic tile sealer, if desired. I prefer the tile sealer for two reasons: Paste wax can leave whitish residue in textured areas; and it may not be as permanent of a surface. If exposed to heat or direct sun, it can dull. If you like to use paste wax, gently heating the pot in the oven can melt it in textured areas, and it can be reapplied or re-polished if it dulls.

TERRA SIGILLATA RECIPES:

White Terra Sigillata2100 grams (2.1 liters) water1000 grams OM4 Ball Clay25 grams Darvan 7 or Darvan 811

Measure water into a large glass or clear plastic jar with a wide mouth. Add Darvan and stir. Add clay and shake vigorously. Leave undisturbed to settle for three hours. You will see a dark layer of sludge at the bottom of the container. Siphon off the liquid portion above the layer of sludge. Be careful you don’t pick up any of the sludge. Discard the bottom layer of sludge. Apply by brushing or spraying and polish with fingertips or a soft cloth.

Red Terra Sigillata

2300 grams (2.3 liters) water1000 grams Newman Red clay 30 grams Darvan 7 or Darvan 811

Mix and apply as for white terra sigillata

Materials for further study and inspiration:

Low Firing and Burnishing, by Sumi von Dassow. Describes how to burnish with a stone and how to make and use terra sigillata. In addition to pit firing, I cover black-firing, saggar firing, horse-hair firing, and naked raku.

Alternative Kilns and Firing Techniques, by James Watkins and Paul Wandless. Covers the same kinds of firings that I do in Low Firing and Burnishing, but they have some different methods.


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Raku, Pit & Barrel: Firing Techniques, edited by Anderson Turner. A collection of articles from Ce-ramics Monthly magazine with some great ideas and innovative techniques.

Smoke Firing: Contemporary Artists and Approaches, by Jane Perryman.

DVD: Pit firing and Burnishing by Sumi von Dassow. Shows a pit firing in detail, including collecting materials and preparing pots. I demonstrate making and using terra sigillata and burnishing with a stone.

Documents

Billy Ray Mangham - Ceramic Arts Network · temp by adding a little clear glaze to the commercial. if the commercial glaze is overfired, it will not work in your palate. Here are