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Applying heavy amount of slip, but still need to cut piece in half...


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Hey everyone, 

I've been using the platform for a while, but haven't really posted. Thanks, everyone for the information; you're all pretty awesome. 

I'm looking to make large vases and apply a heavy amount of slip to them. For me to fire the piece, I'll have to cut the entire form in half and fire separately. If I cut the form in half it needs to be in the wet stage, but to apply the heavy amount of slip it has to happen in the leather hard stage. Assuming the work can even withstand the heavy amounts of slip without collapsing, any advice? 

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Hi khalil,
Welcome to the Forum!

If the ware can take slipping as a whole, then slipping the halves could work as well?
You might set up tests - similar thicknesses, then approximate the forces - afore risking your large wares.

I'd envisioned the large vases being cut in half vertically.
:|

On re-reading this morning (Pacific Daylight time!), ah, perhaps you are separating the vase along a horizontal feature?

I've applied slip to a damp ware to the point where deformation occurs, oops!
Variables: how thick the ware, how big/tall the ware*, how damp the ware, how wet the slip, how thickly the slip applied, slip on one or both sides at once, slip all over or just a portion...

Check back for input from other Forum readers?
Perhaps this "bump" will help...

*with most everything else being equal, the larger version will slump sooner than a smaller one, for example
i - pyrometric cones, the big ones slump about 9°F before the small ones
ii - the larger wax candle will slump (from heat) afore the smaller one...

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Hey Hulk and Min, 

Thanks for the warm welcome and responses. 

I'd be looking to make 8-9-foot vases and cut them horizontally. The work would be at least an inch or so thick towards the bottom. I'm firing in a six-foot downdraft gas kiln with a rounded roof. I'd like to slip the work all over and for it to be as thick as possible in doing so. 

@Hulk I had no idea larger work would slump before smaller work. I thought the thickness of the walls would help me apply even more slip 😭. Thank you for this! I'll for sure run those tests you suggested to see what I'm working with.

@Min I am not using a deflocculated slip... should I be?👀 I was in the process of making a throwing sculptural body for this project. For the slip, I was just going to use the same exact recipe for the clay body and take out the fine mesh grog and the low percentage of red art. Maybe take out the bentonite so it doesn't shrink as much as the clay body since it will have a higher content of water than the clay? 

 

I'm not a chemist whatsoever. I've only been reading/studying books and terminology for the purpose of completing this project. Thanks again! 

 

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Also, while I'm here. Is there any substance stronger than epoxy when I reattach the two halves after the glaze firing (assuming they don't warp)?  I'll have to transport the work and maybe even store them outside and I'm unsure if epoxy is the right tool for the job. 

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A deflocculated slip will contain less water than the same consistency of slip that doesn't contain a deflocculant. A deflocculated slip will shrink less than one that isn't. John Britt video demo's the process well. https://www.youtube.com/watch?v=3an-E0Lk8mQ

Re epoxies, have a look at the process info on Beth Cavener Stichter's site, she is very generous with sharing her process. She seems to favour PC11. https://followtheblackrabbit.com/portfolio-item/materials/

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