Hyn Patty

Final photo!  Got my old Seeley's porcelain slip all reconstituted beautifully.  Here are the medallions poured and cleaned up and bisque fired  for the show awards.  The three smallest are intended to be jewelry pendants.  All of these can be kept as porcelain bisques or custom glazed at some later time.  Now back to casting more of them for my event in July!

Oh my Gerd.  I -FINALLY- managed to locate pottery plaster.  What a PITA.  I usually can get it locally for about $20 per 50 lb bag if I pick it up at Highwater Clays in Asheville (a long drive for me but worth it).  But of course they have been out of it and backordered for bloody ever due to ongoing COVID foo backups.  So I finally broke down and called all around until I found Kruger Pottery just got in a load.  Whew!  My big event is in July and I have clayed up so many molds that I didn't dare order rubber until I could be sure I could also get more plaster.   The $100 shipping on two bags hurts but at least it's on it's way!  Hopefully Highwater will eventually get some in and I can get a few more bags yet but without the shipping charges.  Fun, fun.
I did mention that this thread might be better placed in the mold making and slip casting forum... 

Something a little different just finished up in my studio this week!  'Smitten' medallion (small plaque) , sculpted by Rebecca Turner, produced in earthenware ceramic by Marge Para, and custom glazed by myself as a show donation for Clinky Mania Live 2024 in Titusville, FL this May.  All work done in the kiln using underglazes, then satin clear, followed by some overglazes to punch up the colors in the cat.  This ceramic medallion measures 3.5 by 5 inches and is going to public auction to benefit the show.    Photo displayed is MUCH larger than the actual piece!
I don't do many donation pieces anymore as I am just too busy but this is to help support a good friend's last year of hosting this show series for equine ceramics.  With all the heavy storms up here we've had in these mountains the past week it's been hard to fire either of my kilns with so many power outages and all the lightning.   But I finally got it done!  

Years ago I made plaster molds for a customer who then used my molds to make clay tiles. The clay tiles would be fired and then used as COOKIE molds. (The tiles had a slight relief that would make for very interesting cookies.)
The process, I was told, was to lightly oil the fired tile and then place a little bit of cookie dough on it. Put both in the oven and bake for the normal amount of time. As the dough softened, and baked it, would lay down on the tile and take the relief. Then, once the tile cooled enough, the cookie would lift off the tile easily.
I've often thought of making promotional cookies, for studio events, but haven't taken the time to do it yet. 
Making chocolates sounds fun but challenging. Let us know how it turns out.

Something a little different just finished up in my studio this week!  'Smitten' medallion (small plaque) , sculpted by Rebecca Turner, produced in earthenware ceramic by Marge Para, and custom glazed by myself as a show donation for Clinky Mania Live 2024 in Titusville, FL this May.  All work done in the kiln using underglazes, then satin clear, followed by some overglazes to punch up the colors in the cat.  This ceramic medallion measures 3.5 by 5 inches and is going to public auction to benefit the show.    Photo displayed is MUCH larger than the actual piece!
I don't do many donation pieces anymore as I am just too busy but this is to help support a good friend's last year of hosting this show series for equine ceramics.  With all the heavy storms up here we've had in these mountains the past week it's been hard to fire either of my kilns with so many power outages and all the lightning.   But I finally got it done!  

Something a little different just finished up in my studio this week!  'Smitten' medallion (small plaque) , sculpted by Rebecca Turner, produced in earthenware ceramic by Marge Para, and custom glazed by myself as a show donation for Clinky Mania Live 2024 in Titusville, FL this May.  All work done in the kiln using underglazes, then satin clear, followed by some overglazes to punch up the colors in the cat.  This ceramic medallion measures 3.5 by 5 inches and is going to public auction to benefit the show.    Photo displayed is MUCH larger than the actual piece!
I don't do many donation pieces anymore as I am just too busy but this is to help support a good friend's last year of hosting this show series for equine ceramics.  With all the heavy storms up here we've had in these mountains the past week it's been hard to fire either of my kilns with so many power outages and all the lightning.   But I finally got it done!  

Something a little different just finished up in my studio this week!  'Smitten' medallion (small plaque) , sculpted by Rebecca Turner, produced in earthenware ceramic by Marge Para, and custom glazed by myself as a show donation for Clinky Mania Live 2024 in Titusville, FL this May.  All work done in the kiln using underglazes, then satin clear, followed by some overglazes to punch up the colors in the cat.  This ceramic medallion measures 3.5 by 5 inches and is going to public auction to benefit the show.    Photo displayed is MUCH larger than the actual piece!
I don't do many donation pieces anymore as I am just too busy but this is to help support a good friend's last year of hosting this show series for equine ceramics.  With all the heavy storms up here we've had in these mountains the past week it's been hard to fire either of my kilns with so many power outages and all the lightning.   But I finally got it done!  

Something a little different just finished up in my studio this week!  'Smitten' medallion (small plaque) , sculpted by Rebecca Turner, produced in earthenware ceramic by Marge Para, and custom glazed by myself as a show donation for Clinky Mania Live 2024 in Titusville, FL this May.  All work done in the kiln using underglazes, then satin clear, followed by some overglazes to punch up the colors in the cat.  This ceramic medallion measures 3.5 by 5 inches and is going to public auction to benefit the show.    Photo displayed is MUCH larger than the actual piece!
I don't do many donation pieces anymore as I am just too busy but this is to help support a good friend's last year of hosting this show series for equine ceramics.  With all the heavy storms up here we've had in these mountains the past week it's been hard to fire either of my kilns with so many power outages and all the lightning.   But I finally got it done!  

Something a little different just finished up in my studio this week!  'Smitten' medallion (small plaque) , sculpted by Rebecca Turner, produced in earthenware ceramic by Marge Para, and custom glazed by myself as a show donation for Clinky Mania Live 2024 in Titusville, FL this May.  All work done in the kiln using underglazes, then satin clear, followed by some overglazes to punch up the colors in the cat.  This ceramic medallion measures 3.5 by 5 inches and is going to public auction to benefit the show.    Photo displayed is MUCH larger than the actual piece!
I don't do many donation pieces anymore as I am just too busy but this is to help support a good friend's last year of hosting this show series for equine ceramics.  With all the heavy storms up here we've had in these mountains the past week it's been hard to fire either of my kilns with so many power outages and all the lightning.   But I finally got it done!  

Something a little different just finished up in my studio this week!  'Smitten' medallion (small plaque) , sculpted by Rebecca Turner, produced in earthenware ceramic by Marge Para, and custom glazed by myself as a show donation for Clinky Mania Live 2024 in Titusville, FL this May.  All work done in the kiln using underglazes, then satin clear, followed by some overglazes to punch up the colors in the cat.  This ceramic medallion measures 3.5 by 5 inches and is going to public auction to benefit the show.    Photo displayed is MUCH larger than the actual piece!
I don't do many donation pieces anymore as I am just too busy but this is to help support a good friend's last year of hosting this show series for equine ceramics.  With all the heavy storms up here we've had in these mountains the past week it's been hard to fire either of my kilns with so many power outages and all the lightning.   But I finally got it done!  

Suspending the handle with wires is a far more complicated way to do it and just using more oil clay to lay in a bed complete with keys.  Pour one side in plaster, then flip it all over, remove the oil clay bed from the handle, then pour the plaster on the second side.  Very easy.
That said, I'd suggest you sculpt the handle you want and get us a photograph both of the handle at a few angles and how you think you want to set it up in your mold box.  Much easier for folk to help you if we have visuals.  Otherwise you already got lots of great advice here.

You are all very sweet, thank you.  Nice to have a community where we try to help each other out, share info, and encourage one other.  Many I time I've asked for help around here and gotten great input.  So I'm glad if I can give a little something back.

True artist. Brava!!! Brava!!!
It’s a special place we have here. Thank you for the saga. Inspiring. 

To wrap up my little saga on this first ceramic Porthos - he successfully sold at auction yesterday for more than $1600 and I am quite pleased.   Yay!
Alas, I am having issues with his mold so there will be no more of this edition forthcoming until I resolve those issues or make an entirely new set of plaster mold pieces.  I master molded the original plaster mold pieces using silicone but I ended up using a shore hardness 1 step softer (30A instead of 40) and I'm having problems with the new plasters being warped and NOT fitting back together correctly.  Even though the silicone rubber pieces are each in their own mold boxes around the sides (but not the bottoms).  Grr.  I should have known better!  Moral of that story is do NOT be lured by being able to get two gallons of platinum silicone for half the usual price on sale when they are not the correct shore hardness I need.  Close, but no cigar.
Ah well, maybe I can fix the issue by making simple plaster jacket molds for the bottoms of silicone molds so they can't possibly warp from the weight/pressures of the wet plaster filling them.   I think there is a very slight gap there that's sagging so it may end up being an easy fix.  Maybe.   I'll just have to try it today and see.
Meanwhile I have already printed a replacement Porthos of the same size and version to make a new mold from.  I made the first mold set to cast him in pieces for testing my bone china slip I'm making from scratch here in studio but I also want to be able to cast him as close to whole as possible for earthenware production anyway, so back to the drawing board with claying up...  I'm also working on molding him in a larger version so I may well have the big boy casting before I have this smaller version back into production.  One never knows!  Murphy's Law always rules whether I like it or not.

So beautiful! I really admire the way you approach problem-solving - experience and experiment. It’s wonderful to get new information about the many things clay can do  

To wrap up my little saga on this first ceramic Porthos - he successfully sold at auction yesterday for more than $1600 and I am quite pleased.   Yay!
Alas, I am having issues with his mold so there will be no more of this edition forthcoming until I resolve those issues or make an entirely new set of plaster mold pieces.  I master molded the original plaster mold pieces using silicone but I ended up using a shore hardness 1 step softer (30A instead of 40) and I'm having problems with the new plasters being warped and NOT fitting back together correctly.  Even though the silicone rubber pieces are each in their own mold boxes around the sides (but not the bottoms).  Grr.  I should have known better!  Moral of that story is do NOT be lured by being able to get two gallons of platinum silicone for half the usual price on sale when they are not the correct shore hardness I need.  Close, but no cigar.
Ah well, maybe I can fix the issue by making simple plaster jacket molds for the bottoms of silicone molds so they can't possibly warp from the weight/pressures of the wet plaster filling them.   I think there is a very slight gap there that's sagging so it may end up being an easy fix.  Maybe.   I'll just have to try it today and see.
Meanwhile I have already printed a replacement Porthos of the same size and version to make a new mold from.  I made the first mold set to cast him in pieces for testing my bone china slip I'm making from scratch here in studio but I also want to be able to cast him as close to whole as possible for earthenware production anyway, so back to the drawing board with claying up...  I'm also working on molding him in a larger version so I may well have the big boy casting before I have this smaller version back into production.  One never knows!  Murphy's Law always rules whether I like it or not.

Here is the completed piece all glazed up.  All work has been done in the kiln, completed with satin glaze and minimal china painting.  The only thing on him that isn't ceramic media are his mane flights which are enameled metal, inset with pins into tiny holes along his neck.  Completed to a light dappled grey and with an optional base I have made for him to be affixed to, this piece will be posted to public auction.  He measures 3.75" inches tall and will be a unique color and variety in an edition of not more than probably 20 or so variations.  Once I have finished editing his photos and he has been sold at auction, I'll add a photo to my gallery album with him standing on his base.
Tada!  So now you know how I make my equine fine art sculpture in ceramics.  This one earthenware but I also work in porcelain and fine bone china.
 

And thank you for your kind words.  I've been doing equine sculpture and sculpture finish work since 1976, and ceramics since 1984 though I didn't have kilns of my own until 2003.  I posted (but forgot that I'm not supposed to) the links but if you didn't already get them, just message me.  I want to abide by the rules!
 

All right.  For an initial test I have mixed up about 1/3 cup white earthenware slip (cone 06-04 that I got locally and ball milled it a few days) and to this I added about a tablespoon of vinegar.  Mixed it up and it bubbled a little bit (a lot of the recipes mention vinegar but not sure why exactly).  By morning it had settled on top as a clear fluid and the slip had become rather unplastic, sort of more like wet sand than slip.  I poured off the excess fluid.
Then I added about 1/2 a teaspoon soda ash and mixed it in well.  It tried to form a hard crust so I had to put it into one of my mortars and use the pestle to grind it smooth again.  I have a rather large ball mill but alas, not a little one.  Maybe I should make myself a smaller porcelain jar and little balls for just such things ... but I digress!
The last thing I added was 1 ml of sodium silicate, mixed well then a touch more.  It became very creamy and lost the hint of grittiness.  I have no idea how it will preform but now I'm going to test it.  Not sure if the vinegar was actually any help at all or not but the soda ash and sodium silicate made sense.  I'll let you know how well it works or doesn't.  I'm going to test it filling in tiny defects and a crack in a bone china horse sculpture I want to glaze.  My initial reaction is it has a good feel, much like the bisque mender I had been using and loved.
I can always color adjust afterwards with a little airbrushed opaque white underglaze if needed over it to blend it in before I move onto coloring the piece.  Wish me luck!  I'll be firing it to cone 04.
 

All right.  For an initial test I have mixed up about 1/3 cup white earthenware slip (cone 06-04 that I got locally and ball milled it a few days) and to this I added about a tablespoon of vinegar.  Mixed it up and it bubbled a little bit (a lot of the recipes mention vinegar but not sure why exactly).  By morning it had settled on top as a clear fluid and the slip had become rather unplastic, sort of more like wet sand than slip.  I poured off the excess fluid.
Then I added about 1/2 a teaspoon soda ash and mixed it in well.  It tried to form a hard crust so I had to put it into one of my mortars and use the pestle to grind it smooth again.  I have a rather large ball mill but alas, not a little one.  Maybe I should make myself a smaller porcelain jar and little balls for just such things ... but I digress!
The last thing I added was 1 ml of sodium silicate, mixed well then a touch more.  It became very creamy and lost the hint of grittiness.  I have no idea how it will preform but now I'm going to test it.  Not sure if the vinegar was actually any help at all or not but the soda ash and sodium silicate made sense.  I'll let you know how well it works or doesn't.  I'm going to test it filling in tiny defects and a crack in a bone china horse sculpture I want to glaze.  My initial reaction is it has a good feel, much like the bisque mender I had been using and loved.
I can always color adjust afterwards with a little airbrushed opaque white underglaze if needed over it to blend it in before I move onto coloring the piece.  Wish me luck!  I'll be firing it to cone 04.
 

I’m going to comment here not because I have a great answer, but because I’m keen to know how this unfolds. I have some ideas to share. 
My initial thoughts are calcined kaolin will counteract shrinkage and be white, so some percentage of it will be helpful. Kaolin or your current clay body is the best way to achieve color match, some percentage of that is necessary for a paste that’s plastic, can be pushed into cracks, and remain cohesive. The body clay is better because it’s going to mature at the right temperature. 
Strength is the tricky one in my mind. One critical thing is the “keying” of the paste into all the little nooks and crannies of the crack, pushing it in. Filling the crack, not just covering it (I’m preaching to the choir here, I know). Paper, as you noted, complicates that. It has its virtues, in general it can mend things many experienced clay people consider un-mendable. I could go on about it, suffice to say I’m not sure paper is a helpful ingredient in your case. It may be, I’m just not sure.
Soda ash and/or sodium silicate I think of as helpful. ***DISCLAIMER: I am no ceramic engineer*** One effect they can produce is to reduce the amount of water needed in the mender to make it fluid, that allows you to better fill the cracks and reduces drying shrinkage. The other effect is as a flux, to fuse the paste together and ideally adhere it to the bisque as well. I have no good idea about the amount to use, other than it’s small. These materials have a melting point, both around ordinary bisque temperatures. Your firing temperature and how they interact with the other materials will affect their usefulness. 
Finally, considering the clay portion, if you use only kaolin and calcined kaolin then it’s going to be weak. Your body clay is going to produce something stronger, and soda ash/sodium silicate will compensate in fluxing power what you’re losing by adding calcined kaolin.
Your work is great! Wishing you luck with testing. 

Here is the completed piece all glazed up.  All work has been done in the kiln, completed with satin glaze and minimal china painting.  The only thing on him that isn't ceramic media are his mane flights which are enameled metal, inset with pins into tiny holes along his neck.  Completed to a light dappled grey and with an optional base I have made for him to be affixed to, this piece will be posted to public auction.  He measures 3.75" inches tall and will be a unique color and variety in an edition of not more than probably 20 or so variations.  Once I have finished editing his photos and he has been sold at auction, I'll add a photo to my gallery album with him standing on his base.
Tada!  So now you know how I make my equine fine art sculpture in ceramics.  This one earthenware but I also work in porcelain and fine bone china.
 

Here is the completed piece all glazed up.  All work has been done in the kiln, completed with satin glaze and minimal china painting.  The only thing on him that isn't ceramic media are his mane flights which are enameled metal, inset with pins into tiny holes along his neck.  Completed to a light dappled grey and with an optional base I have made for him to be affixed to, this piece will be posted to public auction.  He measures 3.75" inches tall and will be a unique color and variety in an edition of not more than probably 20 or so variations.  Once I have finished editing his photos and he has been sold at auction, I'll add a photo to my gallery album with him standing on his base.
Tada!  So now you know how I make my equine fine art sculpture in ceramics.  This one earthenware but I also work in porcelain and fine bone china.
 

Not sure if this will work but here's a video of my working on him today in studio.  I'd much rather be riding my motorcycle or hiking on this sunny day but I have a show deadline coming up fast next weekend!  
Underglazing Details on Curio Porthos
It is set public on my Facebook page so maybe you can see it.  Not sure if I can directly upload a video here though.  If you all can't view it let me know and I can see about uploading it to a blog post or something on my website instead.

I also posted this photo of first version 1/9th traditional scale Porthos with the docked tail.  This is a roto cast hollow white resin I have cut up for mold making.  I'm in the process of using colored oil clays to 'clay up' for pouring those molds in plaster.  Once the molds are poured, I test them to make a single casting like the curio bisque at the top of this thread.  This allows me to see where the mold is skimming or tearing clay off as I demold so I can trim those edges clean.  Tiny undercuts can be skimmed off the plaster mold pieces easily.  If there are air bubbles, I fill them with plaster paste or epoxy.  If there are details that are too soft, I can go back in and recut them much more sharply in my plaster master mold.
Then, rather than continue to use that first mold, I seal it with mold soap and then pour a silicone rubber mold of each plaster piece.  This will then allow me to cast as many plaster production molds as I want!  As the mold detail wears very rapidly (especially if I am casting porcelains) then I may need to be able to reproduce the mold several times over to keep every piece of my edition super crisp.
As usual, this probably belongs in the mold making and slip casting thread...