Drying cracks are opportunistic, especially in highly plastic or fine-particled clays. They like to initiate inside sharp acute angles. The sharper the angle the greater the chance of crack. By doing this procedure before the clay gets too stiff (in the leather-hard stage) you will deny a crack a place to start. Of course, even drying is still important, the water content of a handle should now be allowed to get too far ahead of that of the main body of the mug at any time. In the pictures on the right, two tools are being used to compress and round the angle at which the handle meets the wall of the mug.

These are whiteware mugs (Plainsman M370) with tissue transfer designs that were applied at the leather hard stage. The pieces were then dried, bisque firing, clear glazed and then fired to cone 6. Tissue transfers are sold online in a wide range of designs (in full color also). They can also be made at home by silk screening the appropriate type of ink onto the tissue paper (you can make your own ink using ceramic pigments). These overglaze transparent recipes are G2934 matte (left) and G2926B glossy (right). The matte glaze softens the edges of the design. The pig is a good demonstration of how crisp the edges of lines can be (once the application techniques are mastered). This method of decorating is far less expensive than decals. And does not require an extra firing. While the ink is somewhat powdery, it can be stabilized with spray starch if pieces need to be transported for firing.

These are cone 6 Alberta Slip recipes that have been brushed onto the outsides of mugs (three coats gave very thick coverage). Recipes are GA6-C Rutile Blue on the outside of the left mug, GA6-F Alberta Slip Oatmeal on the outside of the center mug and GA6-F Oatmeal over G2926B black on the outside of the right mug). These one-pint jars were made using 500g of powder, 280g of water and 75g of Laguna CMC gum solution (equivalent of adding 1% powdered CMC). Because no Veegum is being used this blender mixes to a slurry of high 1.6 specific gravity (for thicker coverage per coat than commercial glazes having much more water). This approach is good for recipes high in Alberta Slip. The gum removes the need for roasting part of it, reduces the water needed and the plasticity of the Alberta Slip helps suspend the slurry.

Do you have a family member with a 3D printer? Possibly someone who is a "print tourist", downloading a printing things like this lizard (pardon me, it is an Axolotl) but who never learns the 3D design tools to make his or her own! Turn that wasted opportunity into something productive. This creature took much more time to print than these two jigger case molds for making mugs. The person on Thingiverse who made it has undeniable CAD expertise, far beyond mine (it has articulating tail, body, head, legs and feet). He/she may have a dozen multi-material 3D printers running in the basement churning these out in multi-color madness, feeding a vast "model mooch" culture and revelling in the money it can make (this model was also available as a file, it cost $4, very inexpensive compared many). If you are a pottery or a hobby potter, 3D design is a great way to channel creativity, a real adrenaline-pumping and practical skill. My know-how with Fusion 360 is much less than this, but it has been plenty to make dozens of molds and cutters and tools. So commandeer that printer from its current "print pirate" master and turn it into an awesome asset to your ceramic practice!

We want to achieve embossed lettering inside the foot rings of slip-cast ceramic pieces by using a standard consumer 3D printer with PLA filament. There are plenty of obstacles to overcome in doing this. Since plaster does not release well at all from lettering having sharp corners, bevelling has to be done. However, our CAD software has problems rounding the corners of many fonts, I had to search for one having no variations in stroke width. Then it was a matter of discovering how much to extrude and how much bevelling it would tolerate - this one permits a 1 mm extrusion with a 0.6 radius bevel.
Left front: A 1mm extrude without bevelling and cold release produced very poor results.
Centre: 1mm extrude, 0.6 radius bevelling, 0.2mm rise of background to minimize verticals and cold release - better but still problems.
Right: Same as center but released with heat gun - almost perfect.
Bottom: A test casting from the first prototype mold - looking really good (albeit backwards!).

The milk was applied to inside-glazed L210 terracotta ware (fired to cone 06) that I had preheated to 250F. This has not gone on as thick as usual so it appears it might be best to dip the pieces into milk and then pat them with a milk-damp sponge to break all the bubbles, remove the drips and even out the coverage.

Since these are glazed only on the inside I had to be cautious to avoid glaze compression issues. And tell users not to put these in the dishwasher (or if they do tell them how to restore the surface in their own oven).

It is now practical to make true-round, perfect-fitting, all-in-one case molds for jiggering using a consumer 3D printer and PLA filament. This is a one-off test mold using a consumer printer, but the method is so fast that production molds on an industrial printer are feasible. The process is: Create the drawing in 3D CAD (e.g. Fusion 360), print the three sections, glue them, turn the assembled shell upside down, fill with plaster, let it set and peel out the inside two pieces using a heat gun.

Things to note:
-This is very light, the walls are only 0.8mm thick.
-The shoulder (C) is printed solid and the PLA printed surface from A to D is left in place permanently, this enables precise and durable fit into the cuphead. I print the outside shell upside down, no printed support is needed and it prints very quickly.
-The down-pointing flange (A) embeds it into the plaster providing a durable edge against which to fit the pour spout (F). The glue joint connecting A & B breaks when B & E are removed.
-B and E are printed upside down, no support is needed for B, since the top is open, it thus prints quickly.
-The base E has a flange that enables gluing it precisely into B. It has a debossed logo and prints upside down for maximum quality (print support is generated but because it is short it prints quickly).

If you would like this 3D file in Fusion 360 format, it is available in the Files manager in your Insight-live.com account (click the link below to go straight there).

A customer was having serious trouble with this cone 6 glaze recipe shivering. A quick check of its chemistry reveals the reason: It has the lowest calculated thermal expansion we have ever seen! The reason is the high spodumene and talc levels. Adding the 3% cobalt also makes this among the most expensive we have seen. To say this recipe looks non-typical is an understatement. And, it raises flags on working properties and susceptibility to leaching in both limit recipes (e.g. very low clay content, high talc and spodumene) and limit formulas (stratospheric levels of Li2O and MgO coupled with plenty of cobalt).

The hard panning problem can be fixed easily: Supply the same amount of Li2O from lithium carbonate (only 10% is needed so the overall recipe cost is reduced), that makes room in the recipe for clay (to supply the lost Al2O3 and SiO2 from the spodumene). Second, introduce KNaO at the expense of MgO and Li2O, that will greatly increase the thermal expansion and reduce or stop the shivering.

Too much frit in an engobe and it will lose opacity and whiteness. The white slip on the left is an adjustment to the popular "Fish Sauce" slip recipe (L3685A: 8% Frit 3110 replaces 8% Pyrax to make it harder and fire-bond to the body better). The one on the right, L3685C, has 15% frit. Although applied at the same thickness, it is becoming translucent, moving it into glaze territory. That means it will have a far higher firing shrinkage than the body (a common cause of shivering at lips and contour changes). This slip is basically a very plastic white body. Since white burning slips are made from refractory materials they are not nearly as vitreous as red ones, at low fire they need help to mature and a frit is the natural answer. With the right amount of frit the fired shrinkage of body and slip can be matched and the slip will be opaque. This underscores the need to tune the maturity of an engobe to the body and temperature. Although zircon could be added to the one on the right to opacify and whiten it, that would not fix the mismatch in fired shrinkage between it and the body. And it would increase the price.

This is part of a project to create a new mold. I have to make various iterations to arrive at a final design where rubber will be used to make the case mold. But until then I will 3D print the case mold directly. Here are some features that make this super cool:
-The center section is the jug being cast (two pour spouts will be glued on). It is hollow and will be split horizontally in the slicer so the two halves can be printed with open side up and then glued together (with the aid of printed inner hoops to align them).
-The mold seams, where the two halves mate, is printed as a 0.4mm membrane connected to the model and running vertically down its center.
-The membrane has 9.4mm holes for the insertion of standard mold natch pairs. During plaster pour the membrane will flex somewhat, this will be a benefit to aligning the halves.
-The outer shell halves have no angles steeper than 45 degrees and thus print without printed supports. The flanges were drawn using our rotation technique (see link below).
-The round flat base will be glued onto the bottom disk.
-Any rough surface sections of the model (printed on top of support), will be coated with a fluid epoxy to smooth them.
-A separate handle mold will be made.