Chilly

I thought you were slowing down ????????

I read, somewhere, some time ago, that it was ok to add 30% reclaim to new slip, and it wouldn't affect it.

I have a magnification app, that lets me magnify, them take a photo. It's very good.

I love slam wedging. Saves the wrists and back. But gives the thighs a good work out, as I drop slam onto a concrete paving slab.

You just have to try them on. Different head and face size, different mask needed. I have a small head and tried lots. Bought a 3M small size half face respirator. I can wear it all day when needed. https://www.screwfix.com/p/3m-6000-series-half-mask-without-filter/8952G?tc=HT3&ds_kid=92700048793290415&ds_rl=1244069&gclid=Cj0KCQjw5auGBhDEARIsAFyNm9GOKDYMAGYT8CTNrxzj7rQhxr7E_eRLF1TwDuiaYaAYa-8hQH2e3gIaAjhMEALw_wcB&gclsrc=aw.ds

1. Greenhouse where the pottery started to take over. 2. Electronic controller for third-hand manual kiln.

Ask 10 different people to design a mould for the same object, you'll get 12 different suggestions.

I had the same with an owl mould. Tried water, soap, air. Nothing shifted it. In the end we sawed the foot off, and then put it back together with dowels. It worked fine as a slip-casting mould. We never determined the problem. The master was cast-Iron, and had several coats of sealer and copious amounts of release. Maybe it just likes it's new plaster coat.

Any and every book you can get from a public library. They may be old and use out of date equipment, but you will still learn lots.

I don't throw. I stand for 99% of the time, moving around from this bench to that, finding a tool, stamping my feet to warm them in the winter. Moving in or out of the shade in summer. I sometimes sit when glazing, but not in my studio, only at the centre. I did sit last summer, but only because I put a low table under a gazebo to create shade when it was really bright.

And you could put your clay stilts on top of a kiln shelf post to raise it higher, rather than making a really talk stilt.

How many items are you planning to make? That answer could help with mould decisions. Also, just re-looked at that bowl. Could you make a hump or slump mould and use slabs of clay?

To decide how many pieces a mould needs....... Look at an object, say an apple, orange or banana. The orange, if no dimple only needs 2 pieces. The apple, with a dimple both ends could look like it needs more pieces, but if you turn the apple sideways, and each half of the mould contains a dimple, then it too might only need 2 pieces. Same for the banana. A blackberry, bunch of grapes, or a pineapple - each need many pieces, as the undercuts will get stuck. I find this is the hardest part of mould-making. I've heard that if you shine a torch on one side of

I have a mitre box, the sort used by woodworkers, that I use for cutting. I use it with a very sharp, very thin bladed carving knife.

In my early days, I read whatever I could get from the local library, or was available in the pottery room at the local community centre. Now, I'm more choosy, but most of my reading is this forum, and the rabbit holes (links) provided by everyone here.

LIke using the wrong cone glaze, they could be different COE, and expand and shrunk at different rates Best result = it works. Worst result = after firing, slip explodes off clay when you least expect.

Old chisel? Leave the surface rough, with some undercuts for next layer of plaster to grab hold of.

Hi @JF_Potterit seems to be 15 hours since you posted your question, and no-one has answered. Most of the members here are studio or small scale production, or hobby potters. I've done a tiny (very tiny) amount of slip-casting and mould-making. And although I've read many books on the subject, I've not had the need to make masters, and know nothing about silicone. I'm sorry, but I suspect I'm not alone here, and that your question is way above most of our knowledge.

You're "dixie cup" needs to be more like a funnel.

I (generally) find that underglazes work better on unfired clay. The only way you will learn and understand is to make make lots, and treat them in different ways, and make copious notes. Then you will find a process or choice of processes that work for you. I would: underglaze fire to ^04 glaze fire to ^6. Make sure you know the difference, the zero in ^04 is very important. Clay and glaze here (UK) is often sold with a wide firing range, which isn't always a good thing. You need to find a clay and glaze that fit well together

@JohnSbear in mind that Kerry is in Oz

When I buy/make new glazes I always do some test tiles. For layering, I make an L shape, so some is vertical and some horizontal I apply a stripe of each glaze in one direction, then apply a stripe of each (keeping the same sequence) in the opposite direction. Do this on both vertical and horizontal surfaces That gives a reference as to how nicely, or not, they play together. Remember every glaze will be different on your clay to mine, in your kiln to mine, and in the way we each apply the glazes. Have fun. I often spend more time on test tiles, than on making real stuf

@JJCthis is a great thing to do, just be warned that your final sprig will be smaller than the original, as the clay mould will shrink on drying and on firing.

@4 Paw Momyou said "paint". Are you using actual paint or underglaze or glaze? If you are using acrylic paint, it is difficult to wash off, but usually burns away in a bisque firing.

There are loads of videos out there. This one is one of the best IMHO.