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rcwilson

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  1. I was able to find the Wedgwood videos on Youtube - very interesting, and the narration was delightfully droll. Thanks for the tip. Also good to note that unglazed porcelain props may stick to a sculpture during a midrange firing. I'm counting on the china painters to have lots of experience getting pigments to stick to a vitrified body during a glost firing, I guess that's their full-time game. I'm going to give this technique a whirl with low expectations- I've read that even the Boehm ceramicists lose nearly 20% of their work. Lots of opportunity for things to go wrong. I've also just read that Boehm is having terrible financial troubles these days. Really a shame - they may close down in the US and go entirely overseas.
  2. Here is a porcelain figure that I believe uses the techniques I just described. All these figures are modest in size and would easily fit in my electric kiln. Since we can look at this finished product, we know it can be done. There are many examples of these figures with more extensive coloration on the propped surfaces. I'm betting this is done at a very low temp. Does this seem reasonable?
  3. Thanks for the input. I'm basically trying to understand the process that Boehm Porcelain uses to produce those impossibly thin leaf, flower, and bird-with-outstretched-wings sculptures. I'm wondering if I misunderstood their process as to glazing. I'm now thinking that their process is more like this: the artists first assembled slipcast porcelain parts by slip-n-score to form the final figures. These were then once-fired to maturity with no glaze, probably to cone 6. Because they were so thin and wispy, they required props to prevent slumping. The props were custom-built from the same porcelain body so as to shrink along with the sculpture. With no glaze, there was no problem of props fusing to sculpture. After this body firing, colors were added using overglaze enamels (china paints in an oil medium, same technique as bisque-painting of porcelain doll heads). This required multiple very-low-temp firings to build up the colors, only to cone 020 or 018. Overglazing directly on unglazed mature porcelain produced a matte finish with a variety of bright colors. The overglaze firings were so cool there was no danger of slumping, so no need of props. Does this sound like a reasonable analysis? If so, I think my original question is moot, as there is no need of a cone 6 glaze firing that could cause slumping, so no props that could stick in glaze. Does this make sense?
  4. What's the best way to prop or support a sculpture in a glaze firing to prevent slumping? I know greenware props made from the same body as the work are commonly used to prevent slumping/warping during a bisque firing. But what about slumping during the subsequent cone 6 glaze firing? If I use a bisqued prop under a glazed part of the work in the glaze firing, how can I keep the prop from fusing to the sculpture. Figure a sculpture about 10" - 12", made from a Laguna cone 5/6 porcelain (no grog), bisqued to cone 07, glazed with a commercial cone 5/6 glaze, then to be glaze fired to cone 5/6 in an electric kiln. Any ideas would be most appreciated.
  5. I've been admiring the fantastic porcelain hummingbird sculptures by Edward Marshall Boehm. The birds appear to fly, suspended by their beaks from the stamens of the flowers from which they drink. I'm assuming this accomplished by the use of some metal armature and that the sculpture is assembled after firing, but wondered if anyone here has any direct knowledge. Images of these can be found by googling "Boehm Hummingbird". Thanks, Ron
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