STNJ1000 Posted August 2, 2019 Report Share Posted August 2, 2019 Hi! I'm wondering if it is possible to glaze the entire surface of a piece? I am making some ceramic pieces that will be integrated into a sculpture with wood parts and so they don't have a traditional "bottom" like a pot that can be left unglazed without bothering anyone. I have heard there are some techniques for suspending ceramic beads on wire in the kiln? I am working on a larger scale than a bead (aprx 20 in x 5 in x 5 in in the widest places) and am wondering if something similar can be rigged up or built, and how I would do that to at least only have pinhole size points that are unglazed Thank you! Link to comment Share on other sites More sharing options...
Min Posted August 3, 2019 Report Share Posted August 3, 2019 Hi STNJ1000 and welcome to the forums. Best thing I can think of is if you use numerous stilts to prop your piece up off the shelf with if your piece is flat(ish). If you are low firing this might work, for mid or high fire the weight and size of the piece would make it iffy at best. You can buy ready made stilts or make your own using clay and nichrome wire but the height of the wire portion of the stilts will probably have to be under about 3/8" or they will bend. After firing the stilts are removed and any little burrs of glaze left from removing the stilts can be carefully ground down with a diamond sanding pad or by using a Dremel. Link to comment Share on other sites More sharing options...
LeeU Posted August 5, 2019 Report Share Posted August 5, 2019 The only thing I can think to add is if you could post a pic or drawing of what you are trying to do, that might help generate some ideas. A slight design change might make a big difference. Link to comment Share on other sites More sharing options...
Magnolia Mud Research Posted August 5, 2019 Report Share Posted August 5, 2019 Depends somewhat on the firing temperature and the the weight of the ware. I fire to cone 10 and use sea shells filled with wading to support items with glazed bottoms; the shell marks are expected to be part of the design. Lower temperatures will result in different marks. The sea shells decompose to lime and will wash off; the glaze will record the shell surface texture. The wadding carries the weight load of the ware. Some polishing is needed too remove sharp edges after firing. The technique has worked well for me at raku temperatures to cone 10. Other colleagues have successfully used crushed oyster shells for some light weight flat ware at cone 10. LT Link to comment Share on other sites More sharing options...
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