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Question, Cynthia. Given that any 3 low points will create stability, wouldn't it be more effective to fire to a tack fuse temperature, but just create the dimples, and not worry about annealing a tack fuse? The shape would have to be such that the dimples exceeded the depth of the bottom of the sphere. I've never tried this, but I think I will.Morganica wrote:Sift some dry kiln wash into the mold, level it out and tamp it down. Dry plaster of Paris works, too. The glass will slump down onto it. The powder will be more forgiving (and a lot less mess) than a poured mold mix.
You can also cut fiber paper rounds to fit, put them in the bottom of the bowl and then dust with dry kiln wash or plaster to level and smooth it out.
On the feet, yes, absolutely but it can be tricky. I like to prefuse the base/feet in the mold while I'm firing the blank. Then I coldwork both, put the base back in the mold with fiber paper cutouts to keep its shape, set the blank on top and do a cool tack fuse with a very long anneal. The blank will come down on the base and stick, giving you a bowl with feet.
This is a tack fuse and prone to stress--experiment with doing the shape you want in clear first and check it for stress before you do the real thing; some designs will take a lot longer than others. I wrote about an experiment in this a few years back:
Bert Weiss wrote:Question, Cynthia. Given that any 3 low points will create stability, wouldn't it be more effective to fire to a tack fuse temperature, but just create the dimples, and not worry about annealing a tack fuse? The shape would have to be such that the dimples exceeded the depth of the bottom of the sphere. I've never tried this, but I think I will.
Dairy Queen wrote:Dry plaster cannot be used in that ball surface mold with out leaving some sort of marks on the bowl. The slumping glass will pick up the texture of the powder by pressing and leaving a small lump in the bowl's bottom, at the touchdown spot.
Very wet plaster poured into the bottom of that mold will self level with a little shimmy, shimmy (mold to big and heavy to tap for tamp). The wetter the mix, the easier it levels, and the smoother the surface when dry.
If you need your bowl shim to be removable, use vaseline or mold soap on mold before pouring in very wet plaster. Either will fire out of the mold.
Babette (Shawn) wrote:.......
Regarding mold vs mould...I just got back from a road trip to BC Canada and I have new respect and some across-the-border envy...the Canadians are so relaxed and polite! I was up in the islands off of Victoria and it was...heaven! So I came back saying "cheers" and an occasional "aye?" And I just had to spell mold as mould. I'll get over it soon enough aye?
Bert Weiss wrote:One of my signature pieces, is a rectangular platter, that has dimples. It is true that these leave a dent on the other side. These dents don't bother me. I wouldn't consider grinding the dimples. The theory is that any 3 points will create stability. So, yes it depends on your aesthetic. Certain stuff really doesn't bother me, while other things do. I don't care for texture that looks like it shouldn't be there. My solution is not to try and make it disappear, but to create texture that is intentional, and improves the look.
Jim, I like your solution, but for anybody trying to earn a living, an extra firing is not part of the design picture. If efficiency and time are not particular concerns, you have an interesting plan.
Thomas Decker wrote:I have the same mold I solved the problem by putting the bowl on a 6" bonsi stand . ( you can find tham on line )it gets the bowll up so light can go through the bowl , protects the glass and the table and gives it some nice feet. and I lreally like the combination of the wood and the glass.
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