Hyn Patty

No, the thought of all that dust and having to crush it, makes it a commercial / industrial process.  I just know that it is possible.
 

Much appreciated, Peter.   I am doubting it as well because as you say, I need super high quality molds that hold detail as long as possible.  But this was the first I'd heard of it and was curious if I had been missing out on something important to know.  The time and labor involved alone would shy me off of it unless I was just quite unable to get fresh pottery plaster.   Thanks!

I'm inclined to doubt it, especially for high-quality/fine-detail  work like yours.
However these articles suggest that it is possible.
https://www.wikihow.com/Recycle-Plaster-of-Paris
https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7276351/

Hrm... I just counted them.  176 at the moment.  But that also includes current china paints on hand, underglazes, clear glazes, lusters, white and yellow golds, cone 6 art glazes glazes for stoneware and porcelain.  I used to have a TON more because friends and family have given me boxes full but I tend to weed them out and donate what I'm not using to local schools rather than let it hog space I can't afford.  So everything I currently have is actual stock I use regularly - except for the assortment of cone 6 glazes which I rarely use.  But I don't have a ton of them either, just about 25 colors that my Mother-In-Law gave me when she moved.  I use them now and then for show awards.  Only my satin clear glaze are in 3 gallon buckets.  Everything else is in quarts or smaller.
Ancient Copper ... ooh, I love Glaze Queen.  I should get me some of that before it's gone!  I love that glaze.

I agree with both of the above - and welcome aboard!  Glad to have you and never dumb questions.  We were all new to this once and even when you have done ceramics for decades?  There is always still more we can learn!
I'll just add the comment that the bottom piece could also be made of tinted clay.  Black porcelain for example is very popular.  It can be burnished to bring up the sheen faintly.  But a satin glazed black is also very doable with several coats.  I agree the top most pieces look like bisqueware to me without glaze.

Hrm... I just counted them.  176 at the moment.  But that also includes current china paints on hand, underglazes, clear glazes, lusters, white and yellow golds, cone 6 art glazes glazes for stoneware and porcelain.  I used to have a TON more because friends and family have given me boxes full but I tend to weed them out and donate what I'm not using to local schools rather than let it hog space I can't afford.  So everything I currently have is actual stock I use regularly - except for the assortment of cone 6 glazes which I rarely use.  But I don't have a ton of them either, just about 25 colors that my Mother-In-Law gave me when she moved.  I use them now and then for show awards.  Only my satin clear glaze are in 3 gallon buckets.  Everything else is in quarts or smaller.
Ancient Copper ... ooh, I love Glaze Queen.  I should get me some of that before it's gone!  I love that glaze.

If the food colouring is just to tint the raw slip then I would suggest using paste food colouring rather than the liquid, it goes much further.

I was recently asked about a pouring box for mold making. Here are two versions I use in the studio.  The image with the bulbous object is my main pouring box. The pieces are 3/4" plywood cut into 5"x15" boards. I then screwed 1"x1" strips onto the ends which provide a lip for the small "C" clamps. Very quick and easy to assemble a box in any dimension.
The second image shows another box variation that I use often for flat castings. The sides of the box are 2"x2" pieces of pine. (In his case I also used some 1"x2" strips.) The 2x2 pieces are labeled as "turning blanks" and come in a variety of wood types.  (Woodworkers use them to make stairway balusters.) Because they are square and stocky they don't need much bracing other than a little clay at their base. 
The mold on the left I free formed and did not use the box to limit the plaster. (I shaped it by hand.) The mold on the right I filled the box with plaster and then ran a straight edge along the tops of the wood pieces which resulted in a mold that was evenly thick. 
 

I have similar, but have also used tupperware boxes, cardboard boxes lined with large plastic bin bags, and fruit boxes, also lined.  Anything that is larger "enough".
 

Hello Hyn Patty,
Does this bring back memories??? I was introduced to Seeley's back in the 90's when I made a mold for a local "ceramics" shop. (I was also introduced to Bell Porcelain.) 
Coming from a "potters" background, (i.e. Minnesota Clay #2 Stoneware.) Seeley's and Bell were something of an eye opening experience. It was the first time I had a chance to cast BEAUTIFUL porcelain objects. 
The ceramics shop that hired me to make a few molds was very active in the doll making universe. Both Seeley's and Bell were popular among the doll making crowd.
I found Seeley's to be more workable but more of an "ivory white" color. I found Bell to be a true "bone china" appearance but much more difficult to use.
If I were you I would not add any defocculant. Just add water, let it slake, and see how it turns out. (You can always add defocculant later.) 
I found both developed a really gross green mold, after years of sitting, so I would pass the slip through a screen before using it.
I emailed the New York Dynamic folks at one point but wasn't impressed so I decided to try mixing my own again. I find EPK recipes to be more Seeley's like while English Grolleg recipes seem to be more Bell like.
Good Luck - Thanks!
 

Nice posting Patty. Unfortunately the original poster hasn't revisited since the day they posted their query.

Might be worth PM'ing them.

I was looking around in the shop yesterday, trying to figure how the next batch of chalices and patens should be glazed. . . . yes I change themes a bit at times. I was wondering about using an iron red on the them for a change, but then It would mean testing on the two clays, and with the liner glaze. However, the change may be worth it especially if it is a one glaze job. Right now I have a total of 5 glazes in the shop, and the addition of the iron red would be 6.
QotW: On a regular basis, how many glazes do you have in the shop?
best,
Pres

It’s my partner and me, two person studio. She uses stuff I don’t and I use stuff she don’t, but we use more together than we do apart. There are about five glazes that get replenished regularly and eight or ten different glazes total. They all have their place and time, some get culled, new ones get added…slowly. 
Mostly two and a half gallon buckets. This works well for us, we’re not a high production environment but produce regularly. You get creative with containers and volumes, there is no need for gallons of glaze to dip a pot. You’ll know which glazes need a bigger bucket soon enough (this is me giving advice to myself, it’s free if you want it). 
Iron oxide, doctored up to keep it in suspension, is always on hand. So is soda ash for firing and occasional deflocculation. Six or seven Velvet underglazes. Mason 6600. Terra sigillata (That’s mine!!! Don’t touch it! Haha).  Powders galore and a weary triple beam balance scale. Always some running tests happening, from 100-500 grams of whatever. I can’t do a firing without a test in it. 

Glaze Queen has replenished their supply of Ancient Copper.

I said that wrong I was going to spray the stucco wall leading up to the bird feeder.   I take down the feeder and clean it when we spray,  I just heard about the water trap a couple of days ago.  I need to research it and see how it works.   I am ready to buy a new feeder,  the sun has  destroyed it.   I am going to be able to work in my studio this weekend my sister is leaving Wednesday.  She has gotten grouchier in her old age,  she rants about anything to tell her.    My husband said that I was just not thinking first before I spoke,  he finally spent some time with her.  When we were alone he said I was right that she would tear into anything he said.  It will be nice  to not be walking on pins and needles.   Denice

Oh goodness, I am so sorry, Denice!  Also I wouldn't use even an organic bug spray on your hummingbird feeder.  Just add a water trap to keep the ants off.  Organic is still as dangerous to  your hummingbirds as it may be to you!  Good luck and yes, be very careful.  Do what you got to do to be safe. Big hug!

I will call on you is I need some help,  some of his fur is like peach fuzz and stiff brush pounce may do the trick.   I was looking at my sculpture armature today,  I think I can arrange them for a dog standing up and twisting.  I am going to stick to clay and plaster,  there aren't any children around me.  My son and his wife moved to Costa Rico and don't have any children.  My neighborhood children have gone off to college.  It is probably for the best,  I don't want to have another attack, and end up in the hospital.  One spring my husband was spraying paint on the house,  the paint had a insecticide in it.    With in minutes I started choking,  he looked at me and told me my face was purple,  he rushed me to the hospital I couldn't see.  The hospital told me if it had gotten into my blood system it would have killed me.   When we got home I started to convulse and my face was twitching.   We left for 24 hours,  when we got home we figured out that I couldn't be outside in the yard,  we had to close all of the windows and I had to use the backdoor.    About a year later I could open the windows.   Doctors told me that once you have a severe reaction to something  you will react to other chemicals faster.   The only times I have a problem recently is when I decide to do something I am not suppose to.   I started to grab a can of organic bug spray to kill the ants on my humming bird feeder.   My husband grabbed the can out of my hand and said oh no you don't spray that,  I said it's organic   I should be able to spray it.  He said I am not willing to take that chance.  I'd better go feed my birds.     Denice

Thank you Denice and Rae, both.  Denice, if I can assist you in any way with  your dog sculpture you just let me know.  As for starting and then just letting it sit - would you start with ceramic clay or oil clay?  If oil clay, letting it sit for long periods between work doesn't matter.  If wet ceramic clay for your original I have a few tips that might help so that you may come and go from it without concern that it would dry out on you.  I often have more than one sculpture going at a time and I may come back and forth from them (even wet clay) for months or even years at a time before I complete them.
If you choose to work in oil clay and want to make a waste mold and resin or rubber cast for your 'master' from which you can then make plaster slip casting molds might I suggest you have a look at this gentleman's page?  He does fantastic dog sculptures and his methods for mold making are very simplified!  Simple brush on rubber with a resin or plaster jacket mold.  Talk about stupid easy to do.  You may only want to do a ceramic clay original but how cool would it be if you made a master from which you can make additional production molds easily and slip cast an edition???
I mean, that's what we are here for, right?  To help & encourage each other.  It may /sound/ daunting but it isn't, trust me.  Small steps, lots of patience, and confidence that you got this - and you do, whichever way you choose to do it!  All-FanYu Dog Sculptore on Facebook
Incidentally he just had a big exhibit at the Westminster Kennel Club's show but if you scroll down past that you'll see tons of step by step progress how he does his dog sculptures.  May it inspire you!

Thank you for the info I will definitely check them out.    I am making a life size sculpture in a brown clay that turns black when fired.  I was in a sculpture group for 10 years and did life size busts,  we would hire a model but mostly we had volunteers.  My senior year in college my professor had me make small figures in  anguished,  happy,  sad ect poses.   My first one was of a elderly man peeping over a fence and grinning.   I actually saw a elderly man doing this on the way to my class,  on the other side was a couple on a blanket passionately kissing.  I had my elderly neighbor pose for me.   Fortunately I didn't need the couple on the other side that was to be imagined by the person looking at the sculpture.  I have worked with oil clay but have never explored resins or rubbers.   One of the problems that my MS has caused me is a instant stop breathing reaction to many things,  chemicals and cat dander are the worse and I love cats.   I am happy that I can still work with clay and plaster.   I have my husband handle all of the painting.    Denice

Thank you Denice and Rae, both.  Denice, if I can assist you in any way with  your dog sculpture you just let me know.  As for starting and then just letting it sit - would you start with ceramic clay or oil clay?  If oil clay, letting it sit for long periods between work doesn't matter.  If wet ceramic clay for your original I have a few tips that might help so that you may come and go from it without concern that it would dry out on you.  I often have more than one sculpture going at a time and I may come back and forth from them (even wet clay) for months or even years at a time before I complete them.
If you choose to work in oil clay and want to make a waste mold and resin or rubber cast for your 'master' from which you can then make plaster slip casting molds might I suggest you have a look at this gentleman's page?  He does fantastic dog sculptures and his methods for mold making are very simplified!  Simple brush on rubber with a resin or plaster jacket mold.  Talk about stupid easy to do.  You may only want to do a ceramic clay original but how cool would it be if you made a master from which you can make additional production molds easily and slip cast an edition???
I mean, that's what we are here for, right?  To help & encourage each other.  It may /sound/ daunting but it isn't, trust me.  Small steps, lots of patience, and confidence that you got this - and you do, whichever way you choose to do it!  All-FanYu Dog Sculptore on Facebook
Incidentally he just had a big exhibit at the Westminster Kennel Club's show but if you scroll down past that you'll see tons of step by step progress how he does his dog sculptures.  May it inspire you!

He is beautiful he reminds me of a Greek style sculpture.   I haven't started on my dog's sculpture yet,  my sister is coming to visit next week.  I don't want to start it and  just let it sit.  I think I will take a look at some of my art history books for inspiration.    My husband got my big stand down for me so I am ready to  begin.  He has a big car show this weekend and is showing off a 1965  El Camino  he  just finished this week.   The weather is suppose to be bad so I don't know how much showing off he can do.  Denice

More cool inspiration! Thanks  and good luck!

So I had some trouble with my Porthos rubber masters of my original plaster mold.  Having used a silicone rubber with a slightly lower shore hardness I had to rejacket my rubber mold masters to prevent warping.  I should have known better than to fall for that great sale!  Hahahaha.  Once past that I could finally pour my production plaster molds and yesterday I finally slip cast another of my Porthos sculptures.  For any of you who follow my album or my previous thread on this draft horse sculpture he is normally standing with his head turned to look back behind himself.  But as I am a sculptor I also like to play with the clay!
Instead of the usual assembly of the cast parts,  I fabricated him an all new neck, tail, and then shifted two of his legs around a bit.  I'm in the process now of fixing his shoulder and haunch accordingly and added the start of a mane.  Still plenty of clean up and fine tuning to go!  Once you slip cast a piece you don't have to dry and fire it the same as it came out of your molds.  You can also rework, resculpt, reposition, redetail to produce completely new and exciting one of a kind pieces!
By the time I am done with this boy and get him onto his base he's not going to look much like my original Porthos sculpture.  I've redone him to be a heavier continental European breed or even Russian Draft.  Clay is so much fun!   Soon as I get him to the point that he's ready to dry and bisque fire I'll cast another one to see what other repositioning and resculpting antics I can get up to.  Breyerfest is only about 6 weeks away so I don't a lot of time but I might manage to get two new pieces completed.  Wish me luck!

So I had some trouble with my Porthos rubber masters of my original plaster mold.  Having used a silicone rubber with a slightly lower shore hardness I had to rejacket my rubber mold masters to prevent warping.  I should have known better than to fall for that great sale!  Hahahaha.  Once past that I could finally pour my production plaster molds and yesterday I finally slip cast another of my Porthos sculptures.  For any of you who follow my album or my previous thread on this draft horse sculpture he is normally standing with his head turned to look back behind himself.  But as I am a sculptor I also like to play with the clay!
Instead of the usual assembly of the cast parts,  I fabricated him an all new neck, tail, and then shifted two of his legs around a bit.  I'm in the process now of fixing his shoulder and haunch accordingly and added the start of a mane.  Still plenty of clean up and fine tuning to go!  Once you slip cast a piece you don't have to dry and fire it the same as it came out of your molds.  You can also rework, resculpt, reposition, redetail to produce completely new and exciting one of a kind pieces!
By the time I am done with this boy and get him onto his base he's not going to look much like my original Porthos sculpture.  I've redone him to be a heavier continental European breed or even Russian Draft.  Clay is so much fun!   Soon as I get him to the point that he's ready to dry and bisque fire I'll cast another one to see what other repositioning and resculpting antics I can get up to.  Breyerfest is only about 6 weeks away so I don't a lot of time but I might manage to get two new pieces completed.  Wish me luck!

So I had some trouble with my Porthos rubber masters of my original plaster mold.  Having used a silicone rubber with a slightly lower shore hardness I had to rejacket my rubber mold masters to prevent warping.  I should have known better than to fall for that great sale!  Hahahaha.  Once past that I could finally pour my production plaster molds and yesterday I finally slip cast another of my Porthos sculptures.  For any of you who follow my album or my previous thread on this draft horse sculpture he is normally standing with his head turned to look back behind himself.  But as I am a sculptor I also like to play with the clay!
Instead of the usual assembly of the cast parts,  I fabricated him an all new neck, tail, and then shifted two of his legs around a bit.  I'm in the process now of fixing his shoulder and haunch accordingly and added the start of a mane.  Still plenty of clean up and fine tuning to go!  Once you slip cast a piece you don't have to dry and fire it the same as it came out of your molds.  You can also rework, resculpt, reposition, redetail to produce completely new and exciting one of a kind pieces!
By the time I am done with this boy and get him onto his base he's not going to look much like my original Porthos sculpture.  I've redone him to be a heavier continental European breed or even Russian Draft.  Clay is so much fun!   Soon as I get him to the point that he's ready to dry and bisque fire I'll cast another one to see what other repositioning and resculpting antics I can get up to.  Breyerfest is only about 6 weeks away so I don't a lot of time but I might manage to get two new pieces completed.  Wish me luck!