A ceramic stilt is a base or a stand with pointed sharp metal, which look like the tips of sharp nails, strutting out of them. Stilts are used so that the glazed surface does not touch anything, because anything touching will fuse together.
Ceramic glazes and paints are like powdered glass. Once the pieces are glazed or painted, the pieces should not touch each other and the kiln sides and floor. The coats will fuse to whatever they touch, so if two pieces touch, they will fuse together.
The problem with the doll parts, the entire outside surface has to be painted, or glazed, or both. If stilts are used, there would be minute points on the surface of the pieces where stilts would have touched them while firing.
First, I got a few feet of high-temperature wire from the nearby ceramic supply store. This is wire that is supposed to withstand kiln temperatures, not ordinary galvanized iron wire.
After firing the porcelain bases (Cone 6), I threaded the wire through the holes. I was finally able to skewer the doll parts and suspend them while firing. I glazed two sets of doll parts with transparent clear gloss, and had to fire them in two separate batches. The first was more precarious, because I fired the heavy parts first. The second was easier, but altogether, this experiment with the stilt and the first glaze took more than 2 weeks. The shaping and drying of the clay took about 12 days, and the three firings took 3 more days. I’m blogging because I’m still waiting for the 2nd batch of doll parts to cool down.