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  1. I'm back to report about the various materials I tried while repairing my bulldog sculpture. I started out (as was recommended) by using epoxy in the larger cracks. I was able to use the epoxy to reattach a few pieces of clay that had blown off. I went to my local art supply store and purchased two items: Sculptamold (modeling compound) by Amaco and Sculpt.it by Sargent Art. Sculptamold is in dry form. Once water is added it can be molded on to an armature. It does not need to be fired. The texture of the wet mixture reminded me of papier mache. It felt like it might have plaster in it after it dried. I used this product on one of the blown off shoulders. I used the other product, Sculpt.it on the other shoulder. This product is soft somewhat like cylinders of putty. It comes in a plastic sealed bucket. According to the instructions it can be used to create small sculptures or patch sculptures. I molded this product on the shoulder and added some small scraps of paper into crevices with the moistened product. Results: The Sculptamold dried relatively quickly, cleaned up quickly with water and was easy to work with. The problem was that it was lumpy so sanding was imperative. The Sculpt.it went on easily with the hand and could be moistened with water to make a smooth finish. Clean up with water and easy. The problem with this product is that it is probably intended for small sculptures. There were several cracks where paper had been covered and the area where the patch met the clay sculpture reflected cracks. I sanded both sides to remove any loose debris. I added the 3rd product, Durham's Rock Hard Water Putty. It came as a dry powder in a canister. This product was recommended to me by a sculpting friend. Well, the Rock Hard worked well over the Sculptamold. Only light sanding needed after it dried. The Rock Hard didn't stick well to the Sculpt.it. I had to sand and rasp it off. I applied the Amaco Sculptamold to that side with success. After it dried I added a layer of Rock Hard just like the other side and voila! It worked. Unfortunately the file is too large to attach to this post. Thank you to all of you who provided your kind and knowledgeable assistance. Now, back to work.
  2. Help! Attached you will see my dog sculpture made from commercially produced paper clay. I have used paper clay extensively with much success. This piece was slow dried over a month. I suspect that I failed to sufficiently compress the areas that cracked or broke off. I would like to rescue it since the head and face are intact. Is there a cold finish such as epoxy, bondo or other product that I can use to cover the cracks and build up the areas that broke away? This sculpture is very special to me and I want to do anything I can to rescue it. Thanks in advance for any kind advice.
  3. https://photos.app.goo.gl/sA4GWePsvoQtE7gx6 Above is a link to the photo of an Eagle I sculpted. I mistakenly used low fire glazes on the head and feet while using cone 6 glazes on the body. Can I paint low fire glazes on the body to correct the problem? What would happen if I painted a low fire clear glaze on the body and re fired low range? Is there anything I can do to salvage the project? https://photos.app.goo.gl/sA4GWePsvoQtE7gx6
  4. I have been researching whether it is possible and efficient to utilize a gelli plate to transfer an image to leather hard or bisque clay. I am fascinated with layering and have used many standard techniques available. I am wondering if underglaze can be applied to the gelli plate then manipulated like one would to make a transfer. I imagine that if the underglaze can be kept wet enough, it can be transferred to newsprint or rice paper. I know I could do this without the gelli plate. I'm just wondering if there would be any advantage to using it? If anyone has done this and can lend some advise, I'd appreciate it. Thank you.
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