youpital

I have managed to do so by instead of casting the two lips apart, connecting them (by using a plaster mold with the same profile as the setter) and then cutting out the slit afterwards.

Oh now I get what you mean, thank you for the advice!

The inner side of the cone would be indeed curved very slightly but the outside of the lampshade (the part that actually touches the mold) is linearly sloped so I think that wouldn't cause any problems right?

This would achieved with a fully closed mold, however I still have to work on that part, the general hight of the rim by just slipcasting in one half of the mold is 2,5-3mm I am not entirely sure if I understand it yet, is it because of creep? And beside that how can I calculate it so that the object would get out of the setter in one piece?

For now I will leave the piece unglazed at the top side, and only glaze the inside with a high gloss glaze, but I also don't want to think of glazing too much yet since the piece hasn't been bisque fired properly till this day. This afternoon I thaught about the same thing, and already made some changes to the setter: Still have a plaster mold of which I should be able to make setters easily. However I am not entirely sure if leaving the setter at the middle open like you can see in the pictures above, I don't think there would be big and notable side affects?

Have just modeled a simple form of setter that could be stacked on top of each other and supports the whole cone.

Thanks Peter, I will look into it. I will update when I have some more information.

the setter in this example gives me one question, on the top right of the image the slip cast cup is perfectly fitting on the inner ring of the refractory setter, how does that work since the cup should still shrink in the kiln? wouldn't the cup tear from the shrinkage because of the setter? ... Tony Hansen uses a "kiln shelf" body for his setter L3693H1

I have found some imaging of which I could base the second solution from my last post. I would change the form so the cone would be fired upside down and the bottom would also be supported. Any thoughts?

I have contacted Witgert for this matter and they would send me a sample of fine kilnproof sand for this exact reason. However I am still researching how I can produce my own "profiled setter", but it takes a but more effort than I could have imagined :,) Right now I'm trying to reimagine a normal store bought setter that can be stapled/placed above each other in the kiln to I can stack more of those lamps in the kiln. I am thinking of two solutions; one, is a way to stack profiled (the cone shape) kiln shelves with a layer of the sand so that the piece stays in tact, the other solution would be just making a normal cone shaped profiled setter to support the object. I am only looking at bisque firing the piece for now so I do not worry about the glaze Does anyone have a guide/experience on how to make profiled setters for bone china?

Right now I am looking at bisque firing the piece, I haven't got any further than that. But I read about setters used for bone china but cant find more information. Ideally I would like to make my own setter or just in general "support" so that i could bisque fire the porcelain and glaze the inside of the cone later.

Hello again, I also think that I over fired it the first time but even if I would fire the shape, it will probably deform a lot here are some pictures to clarify how the shape looks, I know that most of the time these forma are unstable but id love to experiment with it! And for the slip im using a premixed witgert g52 mixture

Hello, currently I am busy with making a porcelain, slip cast lamp cap and need some advice for firing it because of the unstable form. I have read some posts about using setters, silver sand or even custom kiln stilts but I just feel lost in the absence of guides and forums talking about it. The problem with the lamp cap is that it is cone shaped but with a slid from the point of the cone, all the way trough the outer rim. When bone dry, it can stand on its own but is very fragile but when fired in the kiln it just warps and puddles in a flat lillypad shape (which is obviously not what I want it to do) I want to make something that holds it shape when being fired in the kiln. And hope that someone has some advice. kind regards,