Cheryl L Litman on sun 12 apr 98
In a sculpture class I'm taking, several of us have had trouble getting
the slip casting to release from our molds. Our instructor encouraged us
to use textures in the original clay model and I believe that the texture
is acting as hundreds of undercuts preventing the slip from releasing.
My question for more experienced mold makers is, what kind of texture is
possible to use. I've looked at a bunch of hobby ceramic molds and I
only see very slight impressions which are quite broad. Has anyone had
success with deeper textures?
TIA
Cheryl Litman
Somerset, NJ
email: cheryllitman@juno.com
_____________________________________________________________________
You don't need to buy Internet access to use free Internet e-mail.
Get completely free e-mail from Juno at http://www.juno.com
Or call Juno at (800) 654-JUNO [654-5866]
Jarita Thomson on mon 13 apr 98
On Sun, 12 Apr 1998 12:17:28 EDT Cheryl L Litman
writes:
>----------------------------Original
>message---------------------------- In a sculpture class I'm taking,
>several of us have had trouble getting the slip casting to release
>from our molds. Our instructor encouraged us to use textures in the
>original clay model and I believe that the texture
>is acting as hundreds of undercuts preventing the slip from releasing.
>My question for more experienced mold makers is, what kind of texture
>is possible to use. I've looked at a bunch of hobby ceramic molds and
>I only see very slight impressions which are quite broad. Has anyone
>had
>success with deeper textures?
>
>TIA
>Cheryl Litman
>Somerset, NJ
>email: cheryllitman@juno.com
>_____________________________________________________________________
>You don't need to buy Internet access to use free Internet e-mail. Get
>completely free e-mail from Juno at http://www.juno.com Or call Juno
>at (800) 654-JUNO [654-5866]
Dear Cheryl,
I am not as experienced as some of the members of Clayart, but if
I understood your dilemna correctly, I thought to add a little input.
Details in molds are quite tricky, but there are a few ways to deal with
them. I am assuming your problem was not with the original manufacturing
of the mold, but with the slip casting after the mold was complete and
set. When I have a mold that sticks, I have dusted the mold with corn
starch to assist with release. It is non-staining and does not damage
the greenware. Also, sometimes the piece needs to be removed from the
mold earlier than others normally would be. Due to the natural shrinkage
as a piece sets, it can shrink onto the mold and the texture within in
the mold making it hard to release. If the piece is removed a little
earlier, it should not have shrunk quite as much and should be a little
easier to release. Believe it or not, it sometimes even helps to gently
but firmly "burp" the back side of the mold. That is, using the heel of
your hand, hit the mold on the outside of the mold in the location where
the piece is sticking. This, of course, needs to be done carefully.
Sometimes the design of the mold itself may need to be approached
from a different angle. I realize that with a hand sculpted piece my
next suggestion may not be possible. Some molds need to be designed
where the original sculpture is separated into smaller sections and
individual molds made of each section. That would allow the detail to be
accessible and therefore not stick so much. Of course, the slip cast
piece would require assembly to return to the intended design. I
probably didn't explain that very well, but I can't seem to come up with
a very good explanation. Additionally, I don't know what the original
sculpture looks like and exactly how much texture is in question.
Also, sometimes, the problem is not in the design of the original
piece, but in the plaster used to make the mold. Too much, or
occasionally too little water in the plaster mix can cause certain areas
to tend toward sticking.
As I said, I am not as experienced as some, but I hope my little
input may have been helpful.
Sincerely,
Jarita Thomson
E-Mail: Jarita@juno.com
_____________________________________________________________________
You don't need to buy Internet access to use free Internet e-mail.
Get completely free e-mail from Juno at http://www.juno.com
Or call Juno at (800) 654-JUNO [654-5866]
John H. Rodgers on wed 15 apr 98
-- [ From: John H. Rodgers * EMC.Ver #2.5.02 ] --
Jarita's comments pretty well follow along with my experiences in moldmaking
, and I have made a few thousand.
Sometimes when a mold seems to be stuck and won't open without tearing the
greenware apart, using a blast of air from an airhose along the seamline of
the mold forces enough air in under pressure to pop the edge of the mold
open, and the greenware loose from the mold. Then it can be removed.
Intricate and deep detail can be acheived in a mold, and still have
successful casting. But it will require an understanding of moldmaking on
the part of the sculptor to create the design with the limitations of
ceramic molds in mind. A solution to the problem is sometimes to cut the
model into pieces and mold its various components, then assemble the cast
pieces. Of course, this introduces a whole new set of problems.
I did a very complicated, intricately patterned religious piece one time.
Wasn't that big, stood 19 inches tall when fired. Was done in slip cast
porcelain. The mold set for it had 52 individual mold sections which, when
assembled for casting, together made up 13 casting molds. The mold set
weighed in at over 100 lbs. I used 100 lbs of plaster to make the set plus
the weight of the water locked up in the plaster when it set up. When green
ware castings were made(13 pieces) all of them had to be assembled together
to make the finished work. It was a lot of work, but the finished piece was
worth every minute spent in making it.
There is nothing quite like the pristine beauty of a well executed, stark
white porcelain work.
Sorry, I'm a bit predjudiced!
I am an admirer of Edward Marshal Boehm's early work when he was alive, and
was actually engaged hands on in the sculpture and design development of his
porcelains. His studio was in Trenton, NJ and still exists. It is now run by
his wife, and there are artisans there that worked and trained under him.
They still execute beautiful work within his design parameters.
When he was alive, he created a piece called "The Sugarbirds". (He was a
bird lover and had an aviary on his place.) It was not extrodinarily large,
but the mold set was comprised of hundreds of pieces and weighed over 6,000
pounds. He had cut the sculpture apart, and made molds of bird heads, bird
beaks, wings, bodies, leaves, stems, twigs and much more. The parts were
assembled on a table that was a kiln table, and would not be moved until the
piece was fired. When assembly was done, the kiln was moved over it and the
piece was fired. Sometimes they would crack, and he would start over. While
I have seen a lot of good porcelain work, his works, in my mind were
extrordinary. Quite a bit of limited edition stuff. He made 5 scaled,
limited edition California Condors, out of slipcast porcelain, with 45"
wingspans.
Wonderful artist, a bit introverted, his wife was the publicity manager.
When there was a lot of talking to be done, that was her forte'. When Nixon
went to China, Boehm porcelain was selected as a gift to the Chinese
government because China is where porcelain originated, and China has a long
history with it. Two very large white swans were created. The chinese
delegation was astounded, and thrilled. The white swans have special
significance to the Chinese, and to be so well executed, and in porcelain
yet! That was a coup in itself, for Mr. Nixon.
OK. Enough. A bit off the subject here at the end, but the point is you can
get really good detail if you are persistent and willing to do what is
necessary in the molding and assembly areas.
Good luck.
John Rodgers in Alabama
-------- REPLY, Original message follows --------
Date: Monday, 13-Apr-98 09:57 AM
From: Jarita Thomson \ Internet: (jarita@juno.com)
To: Clayart \ Internet: (clayart@lsv.uky.edu)
Subject: Re: questions re making plaster molds from clay models
----------------------------Original message----------------------------
On Sun, 12 Apr 1998 12:17:28 EDT Cheryl L Litman
writes:
>----------------------------Original
>message---------------------------- In a sculpture class I'm taking,
>several of us have had trouble getting the slip casting to release
>from our molds. Our instructor encouraged us to use textures in the
>original clay model and I believe that the texture
>is acting as hundreds of undercuts preventing the slip from releasing.
>My question for more experienced mold makers is, what kind of texture
>is possible to use. I've looked at a bunch of hobby ceramic molds and
>I only see very slight impressions which are quite broad. Has anyone
>had
>success with deeper textures?
>
>TIA
>Cheryl Litman
>Somerset, NJ
>email: cheryllitman@juno.com
>_____________________________________________________________________
>You don't need to buy Internet access to use free Internet e-mail. Get
>completely free e-mail from Juno at http://www.juno.com Or call Juno
>at (800) 654-JUNO [654-5866]
Dear Cheryl,
I am not as experienced as some of the members of Clayart, but if I
understood your dilemna correctly, I thought to add a little input. Details
in molds are quite tricky, but there are a few ways to deal with them. I am
assuming your problem was not with the original manufacturing of the mold,
but with the slip casting after the mold was complete and set. When I have
a mold that sticks, I have dusted the mold with corn starch to assist with
release. It is non-staining and does not damage the greenware. Also,
sometimes the piece needs to be removed from the mold earlier than others
normally would be. Due to the natural shrinkage as a piece sets, it can
shrink onto the mold and the texture within in the mold making it hard to
release. If the piece is removed a little earlier, it should not have
shrunk quite as much and should be a little easier to release. Believe it
or not, it sometimes even helps to gently but firmly "burp" the back side of
the mold. That is, using the heel of your hand, hit the mold on the
outside of the mold in the location where the piece is sticking. This, of
course, needs to be done carefully.
Sometimes the design of the mold itself may need to be approached
from a different angle. I realize that with a hand sculpted piece my next
suggestion may not be possible. Some molds need to be designed where the
original sculpture is separated into smaller sections and individual molds
made of each section. That would allow the detail to be accessible and
therefore not stick so much. Of course, the slip cast piece would require
assembly to return to the intended design. I probably didn't explain that
very well, but I can't seem to come up with a very good explanation.
Additionally, I don't know what the original sculpture looks like and
exactly how much texture is in question.
Also, sometimes, the problem is not in the design of the original
piece, but in the plaster used to make the mold. Too much, or occasionally
too little water in the plaster mix can cause certain areas to tend toward
sticking.
As I said, I am not as experienced as some, but I hope my little
input may have been helpful.
Sincerely,
Jarita Thomson
E-Mail: Jarita@juno.com
_____________________________________________________________________
You don't need to buy Internet access to use free Internet e-mail.
Get completely free e-mail from Juno at http://www.juno.com
Or call Juno at (800) 654-JUNO [654-5866]
-------- REPLY, End of original message --------
Dwiggins, Sandra on thu 16 apr 98
John: I'm a real beginner in mold-making. I took one intensive 16-week course
in it from a person who studied with a master mold-maker at Archie Bray. She
had us make molds from vegetables--any vegetables we wanted. I chose a very
problematic savoy cabbage with minute and intricate details in the leaves, and
possible undercut problems. The final mold was 6 very oddly shaped pieces, but
the final product was (is) spectacular. The detail was incredible.
The person from whom I took this class was a stickler for the proper mix of
plaster and the proper consistency of the pouring plaster. It occured to me
that if your pouring mixture is too thick because you either waited too long or
some other reason before pouring the mold--you won't be able to get the level of
detail from something so complex as that cabbage leaf.
Is this your experience? Also, are there different sorts of plasters that will
work better for different jobs?
We used Pottery Plaster in the class--but I've already noticed that it can be a
bit soft and easily chipped.
Sandy
-----Original Message-----
From: John H. Rodgers [SMTP:inua@quicklink.net]
Sent: Wednesday, April 15, 1998 8:19 AM
To: Multiple recipients of list CLAYART
Subject: Re: questions re making plaster molds from clay models
----------------------------Original message----------------------------
-- [ From: John H. Rodgers * EMC.Ver #2.5.02 ] --
Jarita's comments pretty well follow along with my experiences in moldmaking
, and I have made a few thousand.
Sometimes when a mold seems to be stuck and won't open without tearing the
greenware apart, using a blast of air from an airhose along the seamline of
the mold forces enough air in under pressure to pop the edge of the mold
open, and the greenware loose from the mold. Then it can be removed.
Intricate and deep detail can be acheived in a mold, and still have
successful casting. But it will require an understanding of moldmaking on
the part of the sculptor to create the design with the limitations of
ceramic molds in mind. A solution to the problem is sometimes to cut the
model into pieces and mold its various components, then assemble the cast
pieces. Of course, this introduces a whole new set of problems.
I did a very complicated, intricately patterned religious piece one time.
Wasn't that big, stood 19 inches tall when fired. Was done in slip cast
porcelain. The mold set for it had 52 individual mold sections which, when
assembled for casting, together made up 13 casting molds. The mold set
weighed in at over 100 lbs. I used 100 lbs of plaster to make the set plus
the weight of the water locked up in the plaster when it set up. When green
ware castings were made(13 pieces) all of them had to be assembled together
to make the finished work. It was a lot of work, but the finished piece was
worth every minute spent in making it.
There is nothing quite like the pristine beauty of a well executed, stark
white porcelain work.
Sorry, I'm a bit predjudiced!
I am an admirer of Edward Marshal Boehm's early work when he was alive, and
was actually engaged hands on in the sculpture and design development of his
porcelains. His studio was in Trenton, NJ and still exists. It is now run by
his wife, and there are artisans there that worked and trained under him.
They still execute beautiful work within his design parameters.
When he was alive, he created a piece called "The Sugarbirds". (He was a
bird lover and had an aviary on his place.) It was not extrodinarily large,
but the mold set was comprised of hundreds of pieces and weighed over 6,000
pounds. He had cut the sculpture apart, and made molds of bird heads, bird
beaks, wings, bodies, leaves, stems, twigs and much more. The parts were
assembled on a table that was a kiln table, and would not be moved until the
piece was fired. When assembly was done, the kiln was moved over it and the
piece was fired. Sometimes they would crack, and he would start over. While
I have seen a lot of good porcelain work, his works, in my mind were
extrordinary. Quite a bit of limited edition stuff. He made 5 scaled,
limited edition California Condors, out of slipcast porcelain, with 45"
wingspans.
Wonderful artist, a bit introverted, his wife was the publicity manager.
When there was a lot of talking to be done, that was her forte'. When Nixon
went to China, Boehm porcelain was selected as a gift to the Chinese
government because China is where porcelain originated, and China has a long
history with it. Two very large white swans were created. The chinese
delegation was astounded, and thrilled. The white swans have special
significance to the Chinese, and to be so well executed, and in porcelain
yet! That was a coup in itself, for Mr. Nixon.
OK. Enough. A bit off the subject here at the end, but the point is you can
get really good detail if you are persistent and willing to do what is
necessary in the molding and assembly areas.
Good luck.
John Rodgers in Alabama
-------- REPLY, Original message follows --------
Date: Monday, 13-Apr-98 09:57 AM
From: Jarita Thomson \ Internet: (jarita@juno.com)
To: Clayart \ Internet: (clayart@lsv.uky.edu)
Subject: Re: questions re making plaster molds from clay models
----------------------------Original message----------------------------
On Sun, 12 Apr 1998 12:17:28 EDT Cheryl L Litman
writes:
>----------------------------Original
>message---------------------------- In a sculpture class I'm taking,
>several of us have had trouble getting the slip casting to release
>from our molds. Our instructor encouraged us to use textures in the
>original clay model and I believe that the texture
>is acting as hundreds of undercuts preventing the slip from releasing.
>My question for more experienced mold makers is, what kind of texture
>is possible to use. I've looked at a bunch of hobby ceramic molds and
>I only see very slight impressions which are quite broad. Has anyone
>had
>success with deeper textures?
>
>TIA
>Cheryl Litman
>Somerset, NJ
>email: cheryllitman@juno.com
>_____________________________________________________________________
>You don't need to buy Internet access to use free Internet e-mail. Get
>completely free e-mail from Juno at http://www.juno.com Or call Juno
>at (800) 654-JUNO [654-5866]
Dear Cheryl,
I am not as experienced as some of the members of Clayart, but if I
understood your dilemna correctly, I thought to add a little input. Details
in molds are quite tricky, but there are a few ways to deal with them. I am
assuming your problem was not with the original manufacturing of the mold,
but with the slip casting after the mold was complete and set. When I have
a mold that sticks, I have dusted the mold with corn starch to assist with
release. It is non-staining and does not damage the greenware. Also,
sometimes the piece needs to be removed from the mold earlier than others
normally would be. Due to the natural shrinkage as a piece sets, it can
shrink onto the mold and the texture within in the mold making it hard to
release. If the piece is removed a little earlier, it should not have
shrunk quite as much and should be a little easier to release. Believe it
or not, it sometimes even helps to gently but firmly "burp" the back side of
the mold. That is, using the heel of your hand, hit the mold on the
outside of the mold in the location where the piece is sticking. This, of
course, needs to be done carefully.
Sometimes the design of the mold itself may need to be approached
from a different angle. I realize that with a hand sculpted piece my next
suggestion may not be possible. Some molds need to be designed where the
original sculpture is separated into smaller sections and individual molds
made of each section. That would allow the detail to be accessible and
therefore not stick so much. Of course, the slip cast piece would require
assembly to return to the intended design. I probably didn't explain that
very well, but I can't seem to come up with a very good explanation.
Additionally, I don't know what the original sculpture looks like and
exactly how much texture is in question.
Also, sometimes, the problem is not in the design of the original
piece, but in the plaster used to make the mold. Too much, or occasionally
too little water in the plaster mix can cause certain areas to tend toward
sticking.
As I said, I am not as experienced as some, but I hope my little
input may have been helpful.
Sincerely,
Jarita Thomson
E-Mail: Jarita@juno.com
_____________________________________________________________________
You don't need to buy Internet access to use free Internet e-mail.
Get completely free e-mail from Juno at http://www.juno.com
Or call Juno at (800) 654-JUNO [654-5866]
-------- REPLY, End of original message --------
John H. Rodgers on sat 18 apr 98
-- [ From: John H. Rodgers * EMC.Ver #2.5.02 ] --
Sandra, I, too am a stickler for the proper mix, and consistency of the
plaster. You are correct in that plaster that has gone far towards set is
not good to capture the detail.
USG #1 pottery plaster is the plaster of choice for most slip casting work.
If mixed to the proper consistency, it will have the correct density and
strength. If the plaster has to much water, the mold will be soft, wear
rapidly, break easily. If to little water, density will be greater, making
the mold hard, and not absorbing water sufficiently or readily.
The consistency affects drying rates which affects the life of the mold.
For some really good literature on molds, moldmaking, moldmaking materials,
contact US. Gypsum Corporation, in Chicago. They have literature on all
their gypsum products, and how they are used, including molds for ceramics.
John Rodgers
-------- REPLY, Original message follows --------
Date: Thursday, 16-Apr-98 07:48 AM
From: Sandra Dwiggins \ Internet: (sandra@icic.nci.nih.gov)
To: Clayart \ Internet: (clayart@lsv.uky.edu)
Subject: Re: questions re making plaster molds from clay models
----------------------------Original message----------------------------
John: I'm a real beginner in mold-making. I took one intensive 16-week
course in it from a person who studied with a master mold-maker at Archie
Bray. She had us make molds from vegetables--any vegetables we wanted. I
chose a very problematic savoy cabbage with minute and intricate details in
the leaves, and possible undercut problems. The final mold was 6 very oddly
shaped pieces, but the final product was (is) spectacular. The detail was
incredible.
The person from whom I took this class was a stickler for the proper mix of
plaster and the proper consistency of the pouring plaster. It occured to
me that if your pouring mixture is too thick because you either waited too
long or some other reason before pouring the mold--you won't be able to get
the level of detail from something so complex as that cabbage leaf.
Is this your experience? Also, are there different sorts of plasters that
will work better for different jobs?
We used Pottery Plaster in the class--but I've already noticed that it can
be a bit soft and easily chipped.
Sandy
-----Original Message-----
From: John H. Rodgers [SMTP:inua@quicklink.net]
Sent: Wednesday, April 15, 1998 8:19 AM
To: Multiple recipients of list CLAYART
Subject: Re: questions re making plaster molds from clay models
----------------------------Original message----------------------------
-- [ From: John H. Rodgers * EMC.Ver #2.5.02 ] --
Jarita's comments pretty well follow along with my experiences in moldmaking
, and I have made a few thousand.
Sometimes when a mold seems to be stuck and won't open without tearing the
greenware apart, using a blast of air from an airhose along the seamline of
the mold forces enough air in under pressure to pop the edge of the mold
open, and the greenware loose from the mold. Then it can be removed.
Intricate and deep detail can be acheived in a mold, and still have
successful casting. But it will require an understanding of moldmaking on
the part of the sculptor to create the design with the limitations of
ceramic molds in mind. A solution to the problem is sometimes to cut the
model into pieces and mold its various components, then assemble the cast
pieces. Of course, this introduces a whole new set of problems.
I did a very complicated, intricately patterned religious piece one time.
Wasn't that big, stood 19 inches tall when fired. Was done in slip cast
porcelain. The mold set for it had 52 individual mold sections which, when
assembled for casting, together made up 13 casting molds. The mold set
weighed in at over 100 lbs. I used 100 lbs of plaster to make the set plus
the weight of the water locked up in the plaster when it set up. When green
ware castings were made(13 pieces) all of them had to be assembled together
to make the finished work. It was a lot of work, but the finished piece was
worth every minute spent in making it.
There is nothing quite like the pristine beauty of a well executed, stark
white porcelain work.
Sorry, I'm a bit predjudiced!
I am an admirer of Edward Marshal Boehm's early work when he was alive, and
was actually engaged hands on in the sculpture and design development of his
porcelains. His studio was in Trenton, NJ and still exists. It is now run by
his wife, and there are artisans there that worked and trained under him.
They still execute beautiful work within his design parameters.
When he was alive, he created a piece called "The Sugarbirds". (He was a
bird lover and had an aviary on his place.) It was not extrodinarily large,
but the mold set was comprised of hundreds of pieces and weighed over 6,000
pounds. He had cut the sculpture apart, and made molds of bird heads, bird
beaks, wings, bodies, leaves, stems, twigs and much more. The parts were
assembled on a table that was a kiln table, and would not be moved until the
piece was fired. When assembly was done, the kiln was moved over it and the
piece was fired. Sometimes they would crack, and he would start over. While
I have seen a lot of good porcelain work, his works, in my mind were
extrordinary. Quite a bit of limited edition stuff. He made 5 scaled,
limited edition California Condors, out of slipcast porcelain, with 45"
wingspans.
Wonderful artist, a bit introverted, his wife was the publicity manager.
When there was a lot of talking to be done, that was her forte'. When Nixon
went to China, Boehm porcelain was selected as a gift to the Chinese
government because China is where porcelain originated, and China has a long
history with it. Two very large white swans were created. The chinese
delegation was astounded, and thrilled. The white swans have special
significance to the Chinese, and to be so well executed, and in porcelain
yet! That was a coup in itself, for Mr. Nixon.
OK. Enough. A bit off the subject here at the end, but the point is you can
get really good detail if you are persistent and willing to do what is
necessary in the molding and assembly areas.
Good luck.
John Rodgers in Alabama
-------- REPLY, Original message follows --------
Date: Monday, 13-Apr-98 09:57 AM
From: Jarita Thomson \ Internet: (jarita@juno.com)
To: Clayart \ Internet: (clayart@lsv.uky.edu)
Subject: Re: questions re making plaster molds from clay models
----------------------------Original message----------------------------
On Sun, 12 Apr 1998 12:17:28 EDT Cheryl L Litman
writes:
>----------------------------Original
>message---------------------------- In a sculpture class I'm taking,
>several of us have had trouble getting the slip casting to release
>from our molds. Our instructor encouraged us to use textures in the
>original clay model and I believe that the texture
>is acting as hundreds of undercuts preventing the slip from releasing.
>My question for more experienced mold makers is, what kind of texture
>is possible to use. I've looked at a bunch of hobby ceramic molds and
>I only see very slight impressions which are quite broad. Has anyone
>had
>success with deeper textures?
>
>TIA
>Cheryl Litman
>Somerset, NJ
>email: cheryllitman@juno.com
>_____________________________________________________________________
>You don't need to buy Internet access to use free Internet e-mail. Get
>completely free e-mail from Juno at http://www.juno.com Or call Juno
>at (800) 654-JUNO [654-5866]
Dear Cheryl,
I am not as experienced as some of the members of Clayart, but if I
understood your dilemna correctly, I thought to add a little input. Details
in molds are quite tricky, but there are a few ways to deal with them. I am
assuming your problem was not with the original manufacturing of the mold,
but with the slip casting after the mold was complete and set. When I have
a mold that sticks, I have dusted the mold with corn starch to assist with
release. It is non-staining and does not damage the greenware. Also,
sometimes the piece needs to be removed from the mold earlier than others
normally would be. Due to the natural shrinkage as a piece sets, it can
shrink onto the mold and the texture within in the mold making it hard to
release. If the piece is removed a little earlier, it should not have
shrunk quite as much and should be a little easier to release. Believe it
or not, it sometimes even helps to gently but firmly "burp" the back side of
the mold. That is, using the heel of your hand, hit the mold on the
outside of the mold in the location where the piece is sticking. This, of
course, needs to be done carefully.
Sometimes the design of the mold itself may need to be approached
from a different angle. I realize that with a hand sculpted piece my next
suggestion may not be possible. Some molds need to be designed where the
original sculpture is separated into smaller sections and individual molds
made of each section. That would allow the detail to be accessible and
therefore not stick so much. Of course, the slip cast piece would require
assembly to return to the intended design. I probably didn't explain that
very well, but I can't seem to come up with a very good explanation.
Additionally, I don't know what the original sculpture looks like and
exactly how much texture is in question.
Also, sometimes, the problem is not in the design of the original
piece, but in the plaster used to make the mold. Too much, or occasionally
too little water in the plaster mix can cause certain areas to tend toward
sticking.
As I said, I am not as experienced as some, but I hope my little
input may have been helpful.
Sincerely,
Jarita Thomson
E-Mail: Jarita@juno.com
_____________________________________________________________________
You don't need to buy Internet access to use free Internet e-mail.
Get completely free e-mail from Juno at http://www.juno.com
Or call Juno at (800) 654-JUNO [654-5866]
-------- REPLY, End of original message --------
-------- REPLY, End of original message --------
Eydie DeVincenzi on sun 19 apr 98
-------------------
All:
What is the difference between =22pottery plaster=22 and regular plaster of
paris bought from a hardware store?
Eydie DeVincenzi
| |
|
