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Sputty

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About Sputty

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  1. Starting Point for Yellow

    Mustard yellow - is that a browny-yellow, or a yellowy-brown? Or a yellowy-browny-yellowy-orange? Find a pantone number you can share with everyone - it'll give a better idea than a single word description, even given the limitations of colour reproduction of different monitors/screens. I suspect that if you are after reliable, reproducible, pretty much solid blank colour, then a stain is the way to go - but much will depend on your base glaze, cone, etc. Mason 6407 'Marigold', when used strongly, and on/in my cone 6 majolica glaze, gives what some might call a mustard yellow, for example. Although when used with a little more thought, it's a lighter, brighter shade.
  2. As always, generalisations require caveats. The difference between No.1 Pottery Plaster and the architectural quality Plaster of Paris available in builders' merchants for mouldings, cornices and general ornamental plasterwork is not that great - the main difference is in dry strength, where No.1 Pottery Plaster is perhaps 15% - 20% stronger - and even that assumes that the plasters are mixed properly, which of course at a craft level most people don't really do. I have a number of moulds, both slip- and press-, made from architectural grade Plaster of Paris which have lasted many years, and are still in great condition. In my part of the world it's a much cheaper option, and the difference is slight enough that it is, as they say, a no-brainer.
  3. That chart I mentioned (merci à Chilly): Releasing agents for models and mold boxes
  4. The mould will indeed pick up every tiny imperfection, and present it to the world forever more - although glazing will to some extent hide these. For this reason, I've always found that clay itself is the best material from which to fashion a model. But if you are more at home with wood, then yes, you need it to be beautifully smooth, and preferably sealed. It's only going to be in the mould for a comparatively short time, but you really don't want it absorbing water from the plaster, swelling, expanding fibres from the surface, etc. And you need to 'size' it so that it releases from the mould easily. @Chilly reproduced a chart somewhere on an older thread in this forum, explaining the best things to use as a release agent for any given model material. Do a search of older threads for that invaluable information. One more thought - you'll need your mould to be totally dry before you start to cast with it. Don't underestimate the time it will take to dry out a mould of this size. In industry, they have dedicated mould drying rooms with a set of fans creating a draught across the room to facilitate drying - it still takes forever for large moulds.
  5. A plug hole through the bottom of the mould, to coincide with one or more of the drainage holes of the final pot (bonsai pots do have drainage holes, don't they?) would mean you wouldn't have to lift the mould to pour the slip out. Just unstopper the hole(s), and the slip will drain out (assuming the mould sits over an appropriate void). Clean up the holes after setting, of course. I've never tried it, but under these circumstances I would! Also, I have used super fine architectural Plaster of Paris from builders' merchants to successfully make moulds, but I would hesitate to advise others to do the same simply in case it doesn't work for them. Potters' plaster is a particular formulation, or so people keep telling me, and I'm wrong - simply wrong - for using anything cheaper. (They never give me the money to buy the more expensive stuff, though.)
  6. What's Your Work Music?

    Generally, I prefer the birds tweeting outside, the rustle of the trees, and the distant buzz of a chainsaw. But if I do fancy a little bop, it has to be Donald Fagen's Kamakiriad, if only because it's jammed in the CD player, has been for months, and I can't change it for anything else without completely dismantling the machine. Good job I like it...
  7. Glasslike Crystals in Wet Glaze - What the...?

    Do report back if successful!
  8. Glasslike Crystals in Wet Glaze - What the...?

    They are pretty, aren't they? It might be worth reading this old thread here, and trying what worked for @Tamas: Hard Crystals Developing In Glaze Slurry
  9. Chimney Entrance Reduction

    I think the idea is to encourage a Venturi effect, enhancing the draft.
  10. Fuddling Cups

    Well, the ones I've seen and held were simple, with three cups joined together, and holes from one to the next. The holes were similar size, placed in the same area for each connection. In other words, nothing would favour drinking from one cup over any of the others. These were several centuries old, so original. I've no doubt variations exist.
  11. Fuddling Cups

    Hi Bkam - fuddling cups are in fact much less complicated than puzzle jugs. The cups simply connect one to another via holes in the body, and sometimes through hollow linked tubes/handles (although much more rarely). Like you, I have occasionally read that they need to be drunk in a certain order to avoid spillage; I actually think this is mistaken - all the examples I have seen (and the couple of museum pieces that I have handled) have had no provision for this. They literally just join one to the other, neighbour to neighbour. That's all. The drinking skill is in avoiding a soaking through over-enthusiasm. The second picture here - Fuddling Cup, c. 1690 - shows detail. As with puzzle jugs, modern potters certainly make these. Hannah McAndrew in the UK, for example.
  12. Black Iron Oxide

    I've always taken Black Iron Oxide to be Fe3O4 (Magnetite), and Red Iron Oxide to be Fe2O3 (Haematite). I'm known to be wrong on a regular basis, however.
  13. "art" of making mud balls

    It's an aesthetic, and a meditation. I think that's it, really. If you take any notice of Wiki, making Dorodango is rooted in a Japanese children's past-time, and has been adopted by grown-ups who wish they weren't. Or something.
  14. If one of your students....

    It might be worth looking at the possibility that this student has difficulties which manifest themselves as aggression in defensive situations. I've certainly known some on the Aspergers/Autistic spectrum exhibit behaviour in exactly that way. The friend who brought her along might have some idea about that - history, background, etc.? (Not an answer in terms of what to do, more one of many possibilities as to why someone might be inappropriately challenging. If you can find out the root, you can often adopt more successful strategies. Should you actually want to, of course - you are under no obligation to accept disruption to your class, or your life!)
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