CFisher995@aol.com on sat 22 jun 96
I've just started playing around with underglazes - Amaco's Velvet
Underglazes. The things I've read say they can be fired from x06 to x6. How
well do they stand up to the higher temperatures?
Leslie Ihde on sun 23 jun 96
I've used reward velvets sucessfully from 04 to 4. some colors wash out
at higher temperatures- I think the yellow- I don't remember, but most
were fine at cone 4
Leslie
Vestal NY
Louis Howard Katz on mon 24 jun 96
I have had mixed results up to cone ten with the inclusion pigmented
velvets. Usually they worked , but occasionally the red pigment would
dissapear. In salt the red pigment dissappears every time I try it.
Louis
***************************************************
*Louis Katz lkatz@falcon.tamucc.edu *
*Texas A&M University Corpus Christi *
*6300 Ocean Drive, Art Department *
*Corpus Christi, Tx 78412 *
*Phone (512) 994-5987 *
**************************************************
Claudia Louise Palermo on mon 24 jun 96
On Sat, 22 Jun 1996 CFisher995@aol.com wrote:
> ----------------------------Original message----------------------------
> I've just started playing around with underglazes - Amaco's Velvet
> Underglazes. The things I've read say they can be fired from x06 to x6. How
> well do they stand up to the higher temperatures?
>
I have found that Amaco glazes tend to wash out the higher the temperature
you fire. They
are brighter at 06 and faded at cone 6, although the color is still
there.> >
Claudia Palermo
CLP19@Columbia.edu
Frank Tucker on mon 24 jun 96
At 02:05 PM 6/24/96 EDT, you wrote:
>----------------------------Original message----------------------------
>I have had mixed results up to cone ten with the inclusion pigmented
>velvets. Usually they worked , but occasionally the red pigment would
>dissapear. In salt the red pigment dissappears every time I try it.
>Louis
>
>***************************************************
>*Louis Katz lkatz@falcon.tamucc.edu *
>*Texas A&M University Corpus Christi *
>*6300 Ocean Drive, Art Department *
>*Corpus Christi, Tx 78412 *
>*Phone (512) 994-5987 *
>**************************************************
>Hi Louis,
That's really interesting.We had strong colour from both the light and dark
red velvets in our wood kiln with a light salt.That part of the kiln was
cone 12.
Frank Tucker
phyllis michele greenhouse on tue 25 jun 96
>----------------------------Original message----------------------------
>I've just started playing around with underglazes - Amaco's Velvet
>Underglazes. The things I've read say they can be fired from x06 to x6. How
>well do they stand up to the higher temperatures?
hello there....
due to the fact that the focus of my clay art is primarally polychrome slip
graphic design surfaces, i have used many of the commerical underglazes over
the past 16 years with much success...my personal favorites are amaco's
velvets (recently bought out from reward) i find that most of the colors are
quite stable through the firing range of ^2.... with any temps above this,
some of the pastel tones tend to become a bit unstable, especially in the
peach/pink/salmon range...these tend to go yellow and sometimes even flux
out and gloss! the underglazes were originally created to be totally stable
in bisque temps, however, due to more experimenting they have been able to
get most of their color spectrum to fire at mid to high range temps with
relatively good results...the work that i produce, in which i utilize
underglaze surfaces, is not functional, so i do not mind only firing to ^2
max...do yourself a favor and make some test tiles and try a range of temps
and see precisely what you get at exactly what temp...you will be happy you
did, and also you will be able to see which combinations of color you like
to use together at their desired maturities... by the way, this is only
oxidation firing that i am referring to...
phyllis michele greenhouse
the earthspinner
http://www.icanect.net/~rapture
--
Internet Communications of America, Inc.
Louis Howard Katz on tue 25 jun 96
Doesn't surprise me at all. I was surprised to see them come out of cone
six, maybe it was some other factor that made them dissapear.
L
***************************************************
*Louis Katz lkatz@falcon.tamucc.edu *
*Texas A&M University Corpus Christi *
*6300 Ocean Drive, Art Department *
*Corpus Christi, Tx 78412 *
*Phone (512) 994-5987 *
**************************************************
Meunier Joyce Lee on tue 25 jun 96
I am still confused about the use of underglazes as opposed to using slip.
Could anybody be so kind as to explain for Sra Ignoramusa what the
difference is in usage and appearance?
Thank you.
Joyce
TDH Mojave
Candice Roeder on wed 26 jun 96
At 02:38 AM 6/25/96 +0000, you wrote:
>----------------------------Original message----------------------------
>On Sat, 22 Jun 1996 CFisher995@aol.com wrote:
>
>> ----------------------------Original message----------------------------
>> I've just started playing around with underglazes - Amaco's Velvet
>> Underglazes. The things I've read say they can be fired from x06 to x6. How
>> well do they stand up to the higher temperatures?
I have fired the Amoco "Reward Velvets" up to cone 7, including the bright
reds, purples, and pastels. It took a year for me (not the chemist,
obviously) to find the right glaze, that did not "eat away" at the colors.
I now have a cone 5-7 clear, gloss that doesn't craze on my porcelain.
There are so many factors that effect an underglaze result, but it is
possible to go high and stay bright.
Candice Roeder
In summery Michigan
SANTERRE ROBERT on wed 26 jun 96
Candice, could you share your hard earned knowledge. What porcelain clay body
are you using and what is the source or formula of your clear gloss overglaze?
As we've heard, crazing can be a very subtle thing. Have you checked for
crazing, say by applying an India ink and washing it off the surface of some of
your finished pieces?
Thanks, Bob
santerre_robert@lilly.com
/////////////////////////////////////////////////////////////////////////////
>I have fired the Amoco "Reward Velvets" up to cone 7, including the bright
>reds, purples, and pastels. It took a year for me (not the chemist,
>obviously) to find the right glaze, that did not "eat away" at the colors.
>I now have a cone 5-7 clear, gloss that doesn't craze on my porcelain.
>There are so many factors that effect an underglaze result, but it is
>possible to go high and stay bright.
>Candice Roeder
>In summery Michigan
JoAnn Axford on thu 27 jun 96
Dear Candice, Could you share your ^5-^7 clear gloss formula with us??? I
have been using underglazes on porcelain. Up until now I have been pretty
happy but I was wondering if I might increase my palette with another clear
formula. Thanks, JoAnn Axford Glenmont, N.Y.
Valice Raffi on fri 28 jun 96
>----------------------------Original message----------------------------
>I am still confused about the use of underglazes as opposed to using slip.
Joyce,
I don't have a lot of experience with slip, I use it only occasionally,
mostly as an opaque white instead of a glaze or underglaze. I have also
used it with fabric for draping on sculptures.
I use mostly underglazes (& stains & oxides) for my work. I like the *dry*
look, so I don't put a "glaze" over the top. I also go for the subtle
look, so I do lots of mixing and layering of colors. I tend to use a lot
of Duncan underglazes, mostly because they're available all over town. My
work is also low fire (^6 mostly). All of these tend to change or even burn
out with a clear glaze on top.
E-Z stroke: gives a very translucent color, can also be used on top of glazes.
Cover Coat Underglaze: is more like a slip in that it has "texture". One
day, talking to Duncan, they told me that these underglazes could not be
used on bisqueware, only greenware, but that's not true, I've been using
them on bisque successfully for years.
Hope this helps a little, I'm sure others will have more technical explanations!
Valice
Kevin P. O'Hara on thu 24 apr 97
Hello once again,
I have been following some of the suggestions on tile making and found the
book "Handmade Tiles" very helpful.
I have been messing around with some Velvet underglazes from Amaco and I
like what I am getting. I was wondering if someone could suggest a book,
website etc., or even share a few reliable underglaze formulas? Along with
being a Potter, I am a Painter also at heart. My style of painting is a
cross between Impressionism and Abstract Expressionism. Needless to say, I
like to use alot of paint. What I am trying to say is that I would rather
make my own underglaze, then buy those little 2 ounce bottles for a million
dollars a piece. Many thanks ahead of time. I have learned so much from
all of you.
Pre-Emerging Artist
Kevin P. O'Hara
Mudslinger Pottery
mudslinger@iquest.net
http://www.iquest.net/~mudslinger
Cheryl L Litman on fri 9 oct 98
Thanks to all who took the time to comment on how and why they use
underglazes. I've always dipped and poured stoneware temps so this is a
new area.
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]
Martin Howard on fri 16 feb 01
Why always buy underglazes?
Have any on the list prepared their own?
If so, what are the limit formulae to aim for?
And why cannot I find underglazes for my kiln firing of cone 1-2?
The same list of question goes for stains.
We can buy the raw materials, and add our own, can't we?
So, if we just had formulae for those wonderful colours we should be able to
cut costs.
Or waste a lot of time which might be better spent throwing :-)
Martin Howard
Webb's Cottage Pottery
Woolpits Road, Great Saling
BRAINTREE, Essex CM7 5DZ
England
martin@webbscottage.co.uk
Jonathan Kaplan on fri 16 feb 01
on 2/16/01 11:30 AM, Martin Howard at martin@WEBBSCOTTAGE.CO.UK wrote:
> Why always buy underglazes?
> Have any on the list prepared their own?
> If so, what are the limit formulae to aim for?
> And why cannot I find underglazes for my kiln firing of cone 1-2?
Hi Martin:
I am sure there are some on the list who have made underglazes. I know of no
limit formulae for them. They are not really a glass, like a glaze, but they
do contain many of the same materials that one finds in glazes, just more
refractors and color.
You can fire most commercial underglazes at any temperature. We have used
Amaco Velvets and LUGs for years all over the temperature spectrum.
>
> The same list of question goes for stains.
> We can buy the raw materials, and add our own, can't we?
Sure, and you can spend alot of time and effort coming up with alot of
unuseable stuff. Stains are complex combinations of spinels, etc. etc. that
would even numb even the most literate of us on the list. They are also
precisely fired to produce the same colors lot after lot after lot. I would
venture that most potters can't get their glazes to be the same lot after
lot.
> So, if we just had formulae for those wonderful colours we should be able to
> cut costs.
Sure if you don't put a value on your labor. I would submit that while it
may be possible for a potter to make stains, the costs would far exceed
their value.
> Or waste a lot of time which might be better spent throwing :-)
Or relaxing for that matter. Leave the stain making to those whose expertise
is ceramic color. Do what you do best, let the others do theirs.
Jonathan
--
Jonathan Kaplan
Ceramic Design Group
PO Box 775112
Steamboat Springs CO 80477
jdkaplan@cmn.net
Plant Location (use for all UPS, Common Carrier, and Courier deliveries)
1280 13th Street
Steamboat Springs CO 80487
Snail Scott on fri 16 feb 01
At 06:30 PM 2/16/01 -0000, you wrote:
>Why always buy underglazes?
>Have any on the list prepared their own?
>If so, what are the limit formulae to aim for?
>And why cannot I find underglazes for my kiln firing of cone 1-2?
>Martin Howard
At the risk of reopening a subject
that's been beaten to death...
An underglaze is just a species of
engobe. The commercial ones have
loads of stains and flow enhancers,
but you can definitely make your own.
Take a mid-range (^4-^6) recipe and
try it - they're not usually too
fussy about firing range. Or, take
that mid-range recipe and add a
little flux.
Also, many of the commercial
underglazes are rated from ^06-^5.
-Snail
H.M. Buchanan on fri 16 feb 01
The best thing about commercial underglazes is the color. What you see in
the jar is close to what you get when it is fired. It takes some getting
used to painting grey over grey and thinking yellow and green.
I've been using this recipe for so many years I don't remember where it
came from. I've had good results on greenware, bisque and over my white
majolica.
UNDERGLAZE CONE 1 TO 6
KAOLIN 20%
BALL CLAY 20%
BORAX 5%
WHITING 5%
NEPHELINE SYNITE 10%
FELDSPAR 15%
FLINT 25%
Judi
Buchanan,Heidelberg, Mississippi, USA
----- Original Message -----
From: "Martin Howard"
To:
Sent: Friday, February 16, 2001 12:30 PM
Subject: Re: underglazes
> Why always buy underglazes?
> Have any on the list prepared their own?
> If so, what are the limit formulae to aim for?
> And why cannot I find underglazes for my kiln firing of cone 1-2?
>
> The same list of question goes for stains.
> We can buy the raw materials, and add our own, can't we?
> So, if we just had formulae for those wonderful colours we should be able
to
> cut costs.
> Or waste a lot of time which might be better spent throwing :-)
>
> Martin Howard
> Webb's Cottage Pottery
> Woolpits Road, Great Saling
> BRAINTREE, Essex CM7 5DZ
> England
> martin@webbscottage.co.uk
>
>
____________________________________________________________________________
__
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
beth ellen brickey on fri 4 may 01
Greetings,
I am new to experiencing underglazes. I used to paint with an acrylic
bisque stain and have found the underglazes to bring new challenges to me
technique wise. I hand coil pots and paint abstractions on the surface. =
I
wanted to move towards something more permanent and homogeneous. I like =
the
look of the underglaze that I am currently using (Duncan-OverCoat Opaque)=
but
I am struggling with two things. First, I can't seem to overcome some bui=
ld
up in some areas. And secondly, I am finding a whitish residue to appear
when I apply a second coat of the same color. This residue has turned up=
in
some sample firings. Does this mean the paint is contaminated? Any
recommendations on books on brush technique? Any recommendations as to w=
hat
kind of paints are best for intricate designs that require fine lines and
overlap of colors?
Thanks,
Beth Ellen
_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com
Marianne Lombardo on fri 4 may 01
Hello Beth Ellen;
Is the whitish residue only appearing after glaze firing? If so, I have
experienced something similar sounding with some commercial clear glazes =
=3D
in
the past. Although I would describe it more as 'cloudy' or 'greying'. T=
=3D
his
happened especially in the red underglazes. Most underglazes need to be
thinned a bit, and even if you are applying 3 coats of an opaque undergla=
=3D
ze,
they should be light coats. They also should be stirred very, very
thoroughly.
While I am a fairly new potter (new to wheel throwing), I have used
underglazes for many years on low-fire clays, and used to be a certified
Duncan glaze instructor. However, they have added a lot of new products =
=3D
to
their line and I am not familiar with Cover-Coat=3DAE Opaque Underglazes.=
=3D
I
used to use Duncan's E-Z strokes a lot. The E-Z strokes are designed for
one stroke application. They are translucent, but show up beautifully on
white claybodies under a good clear glaze.
Now I'm on to new areas and firing at ^6, mostly stoneware. I tried 5
different kinds of Tucker's clay and found that the whiter clays work bes=
=3D
t
with underglazes. Let me qualify that, porcelain is the best, but the wh=
=3D
ite
stoneware clays are still very good. Lately, I have used the Amaco velve=
=3D
ts
(don't like them at all), and Pottery Supply House (love them) underglaze=
=3D
s.
My best results with the colors of underglazes, and the effects of
one-strokes is to apply on greenware, then bisque, then apply a clear gla=
=3D
ze.
Of course this is risky because you must handle the greenware very, very
carefully so as not to crack it.
Marianne Lombardo
Omemee, Ontario, Canada
email: mlombardo@nexicom.net
> Greetings,
>
> I am new to experiencing underglazes. I used to paint with an acrylic
> bisque stain and have found the underglazes to bring new challenges to =
=3D
me
> technique wise. I hand coil pots and paint abstractions on the surface=
=2E
I
> wanted to move towards something more permanent and homogeneous. I lik=
=3D
e
the
> look of the underglaze that I am currently using (Duncan-OverCoat
Opaque)but
> I am struggling with two things. First, I can't seem to overcome some
build
> up in some areas. And secondly, I am finding a whitish residue to appe=
=3D
ar
> when I apply a second coat of the same color. This residue has turned =
=3D
up
in
> some sample firings. Does this mean the paint is contaminated? Any
> recommendations on books on brush technique? Any recommendations as to
what
> kind of paints are best for intricate designs that require fine lines a=
=3D
nd
> overlap of colors?
>
> Thanks,
>
> Beth Ellen
>
beth ellen brickey on sat 5 may 01
Marianne,
Thanks for your comments.
>>Is the whitish residue only appearing after glaze firing?<<
No, it appears in the prefire state as well ( I paint on greenware ). I h=
ad
thought it might disappear in the test fire? I should mention that when =
I
open my underglaze jar there are swirls or splotches of whitish perhaps
greyish stuff. And when I take some out for painting this stuff collects
together when I dilute it. Sounds great huh? ;-)
>>Most underglazes need to be thinned a bit<<
I was told to use a distilled water. Is this correct?
---
As far as paints I prefer more solid colors for what I do. I have yet to
explore so much. Although it certainly would not hurt to try other thing=
s
that may be less solid? Who knows, might open new vistas. Do I understa=
nd
that the EZ Strokes are less solid in color?
I have never worked with porcelain. I use a low fire grey clay but is wh=
ite
after firing. Is porcelain sturdy enough for hand coiling?
Take care and thanks for the feedback. I know my questions are Pottery10=
1.
;-)
Beth Ellen
>From: Marianne Lombardo
>Reply-To: Ceramic Arts Discussion List
>To: CLAYART@LSV.CERAMICS.ORG
>Subject: Re: Underglazes
>Date: Fri, 4 May 2001 22:16:02 -0400
>
>Hello Beth Ellen;
>
Is the whitish residue only appearing after glaze firing? If so, I have
experienced something similar sounding with some commercial clear glazes =
in
>the past. Although I would describe it more as 'cloudy' or 'greying'.
>This
>happened especially in the red underglazes. Most underglazes need to be
>thinned a bit, and even if you are applying 3 coats of an opaque
>underglaze,
>they should be light coats. They also should be stirred very, very
>thoroughly.
>
>While I am a fairly new potter (new to wheel throwing), I have used
>underglazes for many years on low-fire clays, and used to be a certified
>Duncan glaze instructor. However, they have added a lot of new products=
to
>their line and I am not familiar with Cover-Coat=AE Opaque Underglazes. =
I
>used to use Duncan's E-Z strokes a lot. The E-Z strokes are designed fo=
r
>one stroke application. They are translucent, but show up beautifully o=
n
>white claybodies under a good clear glaze.
>
> Now I'm on to new areas and firing at ^6, mostly stoneware. I tried 5
>different kinds of Tucker's clay and found that the whiter clays work be=
st
>with underglazes. Let me qualify that, porcelain is the best, but the
>white
>stoneware clays are still very good. Lately, I have used the Amaco velv=
ets
>(don't like them at all), and Pottery Supply House (love them) underglaz=
es.
>
>My best results with the colors of underglazes, and the effects of
>one-strokes is to apply on greenware, then bisque, then apply a clear
>glaze.
>Of course this is risky because you must handle the greenware very, very
>carefully so as not to crack it.
>
>Marianne Lombardo
>Omemee, Ontario, Canada
>email: mlombardo@nexicom.net
>
>
>
> > Greetings,
> >
> > I am new to experiencing underglazes. I used to paint with an acryli=
c
> > bisque stain and have found the underglazes to bring new challenges t=
o
>me
> > technique wise. I hand coil pots and paint abstractions on the surfa=
ce.
>I
> > wanted to move towards something more permanent and homogeneous. I l=
ike
>the
> > look of the underglaze that I am currently using (Duncan-OverCoat
>Opaque)but
> > I am struggling with two things. First, I can't seem to overcome some
>build
> > up in some areas. And secondly, I am finding a whitish residue to
>appear
> > when I apply a second coat of the same color. This residue has turne=
d
>up
>in
> > some sample firings. Does this mean the paint is contaminated? Any
> > recommendations on books on brush technique? Any recommendations as =
to
>what
> > kind of paints are best for intricate designs that require fine lines
>and
> > overlap of colors?
> >
> > Thanks,
> >
> > Beth Ellen
> >
>
>________________________________________________________________________=
______
>Send postings to clayart@lsv.ceramics.org
>
>You may look at the archives for the list or change your subscription
>settings from http://www.ceramics.org/clayart/
>
>Moderator of the list is Mel Jacobson who may be reached at
>melpots@pclink.com.
_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com
Karen Lookenott on sat 5 may 01
Ellen,
I am a Duncan Certified Teacher and could probably help you with =
your
questions about underglazes. I would suggest your looking at easy stroke=
s
for your detail work, but they are a more transparent underglaze. With
cover coats, you should place 3 coats of the product for your primary
coverage. If you were to place 3 coats of the next color over the top of
the first, around the areas you are overlapping, you will find that the
second color has wiped out, not joined with the first. Cover coats will =
be
streaky until glaze has been applied to the color; however, if you are
finding streaks after the glazing of the product, you may either have a
contaminated product or the product may have dried a little. Because of =
the
chemical composition of the product, you should not paint from the bottle=
,
always place some on a tile, as you do with acrylics, and paint from ther=
e.
If you are using your brushes which were used for acrylics, clean them wi=
th
alcohol or vodka. Acrylic paints are the leading contaminator of glaze a=
nd
underglaze products.
Another thing you might try is to use glazes for your colors. If=
you are
just trying to overlap the colors, you could choose the colored glazes an=
d
they will blend in the overlapped areas.
A good resource is the Duncan Website. www.duncan-enterprises.com=
There
are several discussion group areas as well as contacts for Duncan
Ambassadors.
I hope this helps. If you would like more information, please fe=
el free to
contact me off-line @ klookenott@earthlink.net
Karen Lookenott
Carol Baker on mon 7 may 01
Beth Ellen:
A few suggestions that have worked after years of testing and experimenting.
Experimenting is the key word - as I have learned form ClayArt. Just because
someone says it won't work, doesn't mean it won't work for you.
I use underglazes, stains, and glazes on bisque all at the same time,
drawing and applying them as paint. I know you said greenware, but since you
were working with acrylic bisque stains maybe this would seem familiar to
you. I also fire at ^6 and have worked out a palette of colors including
reds that do not fire out. Much depends on your over glaze. Some will burn
out some colors and others will not. Try different brands; mix them; layer
them; put on thick and thin. Do hundreds of tests. Code and record
everything you do. Then you have reference sheets and color samples to refer
to when you want a certain effect.
Thinning the color with glycerin and water seems to work best for me. I do
not use distilled water and live in a very hard water area. See what works
for you. Some of my Cover-Coats are at least eight years old. They look
pretty bad, too, but are still working. I sometimes rub then down with a
clean finger before glazing. Stir thoroughly and thin them, putting them on
in thin coats. When I work on greeware I wet the surface before applying the
underglaze to make application smoother. I work on wet bisque and keep it
wet by working on a wet towel.
The brushes that work the best for me are Chinese calligraphy brushes and
liner brushes that I buy at the craft stores. Cheap. Try different brands.
The ones that your ceramic supplier sells for glazes are not always the best.
I paint and draw with both kinds, thinning with the glycerin when I need to
draw with a very fine line.
What else? E-Z Strokes can be applied thin and transparent or layered for an
opaque look. Though the Cover-Coats would be more cost effective for this.
Mayco has a great line of glazes called Stroke and Coat and Duncan has its
new Concepts. These are designed for bisque, and I also mix and layer them
with underglazes.
Making your own underglazes is possible, but there are so many choices out
there in commercial brands that I finally accepted that I can't do it all. I
do mix my own glazes and have had good results with dipping my clears on
bisque without pre-firing.
Test, test, test. Fill your garage with boxes. ClayArt is always here for
help.
Carol Baker, Scottsdale, Arizona
beth ellen brickey on tue 8 may 01
Carol,
Thanks for all the good suggestions.
I have sooooo much to explore.
At the moment my designs are fairly precise and what I put down is what I
want. Is that too much control? Ha ha. I don't want anything to appear=
or
disappear. ;-) But...I am open to new ways of working next to my main
interest and yes, just jumping in and exploring is totally good. By natu=
re
I am extremely cautious and too cautious for my own good artistically (no=
t
to mention other things).
It is that streaking or residue that bugs me. Others on the list have gi=
ven
me some ideas on how to deal with that. So back to the drawing board. Y=
ou
mentioned using a clean finger to rub the color and I have done that too
with some success, but some areas are hard to manipulate without destroyi=
ng
the design. Oh well. I wish I had a good concrete image to share to sho=
w
what I mean. Someday.....
I may, just for the heck of it, along with doing a clear glaze over some
practice pieces, try some new paints and start fresh and see if it happen=
s
again. The testing process right?
You mentioned wetting the surface on greenware. I had never considered
doing that. And I must also consider whether it is a better approach to
paint on bisque instead. Do you have any thoughts on the pros or cons of
painting either way? That is, advantages and disadvantages in my case? I
will test this.
Also, in using glycerin is there a certain amount required to thin it or =
is
it as needed? In other words, is there ever too much?
Thanks for your help,
Beth Ellen
>From: Carol Baker
>Reply-To: Ceramic Arts Discussion List
>To: CLAYART@LSV.CERAMICS.ORG
>Subject: underglazes
>Date: Mon, 7 May 2001 16:07:52 EDT
>
>Beth Ellen:
>A few suggestions that have worked after years of testing and
>experimenting.
>Experimenting is the key word - as I have learned form ClayArt. Just
>because
>someone says it won't work, doesn't mean it won't work for you.
>
> I use underglazes, stains, and glazes on bisque all at the same time,
>drawing and applying them as paint. I know you said greenware, but sinc=
e
>you
>were working with acrylic bisque stains maybe this would seem familiar t=
o
>you. I also fire at ^6 and have worked out a palette of colors includin=
g
>reds that do not fire out. Much depends on your over glaze. Some will
>burn
>out some colors and others will not. Try different brands; mix them; la=
yer
>them; put on thick and thin. Do hundreds of tests. Code and record
>everything you do. Then you have reference sheets and color samples to
>refer
>to when you want a certain effect.
>
>Thinning the color with glycerin and water seems to work best for me. I=
do
>not use distilled water and live in a very hard water area. See what wo=
rks
>for you. Some of my Cover-Coats are at least eight years old. They loo=
k
>pretty bad, too, but are still working. I sometimes rub then down with =
a
>clean finger before glazing. Stir thoroughly and thin them, putting the=
m
>on
>in thin coats. When I work on greeware I wet the surface before applyin=
g
>the
>underglaze to make application smoother. I work on wet bisque and keep =
it
>wet by working on a wet towel.
>
>The brushes that work the best for me are Chinese calligraphy brushes an=
d
>liner brushes that I buy at the craft stores. Cheap. Try different
>brands.
>The ones that your ceramic supplier sells for glazes are not always the
>best.
>I paint and draw with both kinds, thinning with the glycerin when I need=
to
>draw with a very fine line.
>
>What else? E-Z Strokes can be applied thin and transparent or layered fo=
r
>an
>opaque look. Though the Cover-Coats would be more cost effective for th=
is.
>Mayco has a great line of glazes called Stroke and Coat and Duncan has i=
ts
>new Concepts. These are designed for bisque, and I also mix and layer t=
hem
>with underglazes.
>
>Making your own underglazes is possible, but there are so many choices o=
ut
>there in commercial brands that I finally accepted that I can't do it al=
l.
>I
>do mix my own glazes and have had good results with dipping my clears on
>bisque without pre-firing.
>
>Test, test, test. Fill your garage with boxes. ClayArt is always here =
for
>help.
>Carol Baker, Scottsdale, Arizona
>
>________________________________________________________________________=
______
>Send postings to clayart@lsv.ceramics.org
>
>You may look at the archives for the list or change your subscription
>settings from http://www.ceramics.org/clayart/
>
>Moderator of the list is Mel Jacobson who may be reached at
>melpots@pclink.com.
_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com
Beth Ellen Brickey on mon 14 may 01
Greetings,
To all who responded to my questions on the problems with streaking (whitish
residue) while painting a second coat of underglaze- I think the problem is
with my clay dissolving and spreading into the paint via brush. I think it
is best for me to stop painting on greenware and paint on bisque. There are
other good reasons for doing so i.e., given that my designs take so much
time I think I would feel better knowing the pot fired successfully before
the investment. Eh? So much to learn. This is somewhat new to me but I am
excited about moving forward with this new relationship between pottery form
and design. Thanks for your help. I have quite a few more questions but
don't want to overwhelm this list. So my strategy is to spread them out a
little. Like once a week. Wink.
Regards,
Beth Ellen
Susan Parrish on fri 22 mar 02
Julie, I am using Spectrum underglazes and they are fantastic. The =
colors are GREAT and they hold up to cone 6. The burgundy and bright red =
and dark red are great. They're expensive but well worth it!
Susan Parrish
Snail Scott on thu 26 sep 02
At 01:11 PM 9/26/02 EDT, you wrote:
>Can't they be used with a frit or gerstley borate on bisque?
Most of them work just dandy on bisque. No need
to modify, unless you're after special effects.
-Snail
Reno, NV
Miriam Steele on thu 26 sep 02
Lisa, it's as simple as "following the
directions"!!!!! Underglazes should be applied to
greenware....period...
Three coats are applied.
First coat is thinned with WATER.. as a wash., let it
DRY
Second coat is thinned a bit less with WATER...but
brushed on in the opposite direction.LET IT DRY..
Third coat is thinned with WATER & brushed over...
May be smoothed lightly with your finger tips...but
you should not have brush marks, if done
properly...EVER> THREE coats is all you do.
A test would be nice to see if your Cone 6 glaze is
going to "work". whether it is over or under the
underglazes..
I have a TEMP chart from Duncan.. telling me which
underglazes may be fired to Cone 6... If you need
addtl. assistance, feel free to drop me a line... I
feel sure that each mfgr. has all this info at their
home sites as well.
__________________________________________________
Do you Yahoo!?
New DSL Internet Access from SBC & Yahoo!
http://sbc.yahoo.com
Valice Raffi on thu 26 sep 02
Miriam wrote:
>Lisa, it's as simple as "following the
>directions"!!!!! Underglazes should be applied to
>greenware....period...
>Three coats are applied.
This is not true. I regularly apply underglazes to bisqueware and have for
over a decade. In recent years, some of the manufacturers have indicated
that you CAN do that on their lables. One of the great things (IMHO) is
the flexibility of underglazes; opaque coverage, washes, layers, mixing,
etc., I've probably tried them all for various effects. It IS true that
they can be applied TOO thickly, resulting in "peel back", crawling,
flaking and other undesireable problems.
Valice
in Sacramento, CA
about five miles from Charles Moore
Working Potter on thu 26 sep 02
Can't they be used with a frit or gerstley borate on bisque? Maybe I'm
getting forgetful but I swear we used tham that way before.
jen on wed 19 jan 05
hi, anyone know anything about mayco stroke and coat wonderglaze? I have
some in my artroom, but never used it. Can it be used on greenware, though
it says bisque? Also, do you need to stilt the pieces, or will they be okay
sitting on the shelf unwaxed? I'd appreciate any advice, thanks!!
Valice Raffi on wed 19 jan 05
>hi, anyone know anything about mayco stroke and coat wonderglaze?
Mayco's Stroke & Coat isn't an underglaze per se, it will flux to a gloss,
which is why Mayco recommends putting it on bisque, otherwise you will
probably get pinholing. Some colors will gloss more than others, so they
suggest a layer of clear glaze on top. You will need stilts if you apply
it on the bottom of a piece.
It's awfully expensive to use as a glaze over an entire piece, but you can
use it that way. It's main benefit is that it can be applied to previously
glazed pieces (like a tile or a bought plate) and then fired. It sticks
pretty well on the first coat, but if you try to do multiple layers of a
color, it tends to come off on the brush. You can mix the colors before
applying, but it's difficult to do any shading or blending on the piece.
I've used it a lot with kids where they've decorated glazed (& fired) tiles
or plates. It's non-toxic, and I don't apply a clear top coat, which saves
me a lot of time.
Duncan's "Concepts" is a similar product.
Valice
in Las Cruces, NM
Potter's Council member
Vera Romoda on wed 19 jan 05
I use it a lot -they behave like glazes but they get shinier under clear
glaze. You can fire it from 06 to 6 (above 03 some change colour)
----- Original Message -----
From: "jen"
To:
Sent: Wednesday, January 19, 2005 4:22 PM
Subject: underglazes
> hi, anyone know anything about mayco stroke and coat wonderglaze? I have
> some in my artroom, but never used it. Can it be used on greenware, though
> it says bisque? Also, do you need to stilt the pieces, or will they be
> okay
> sitting on the shelf unwaxed? I'd appreciate any advice, thanks!!
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>
jen on thu 20 jan 05
Thanks for advice, but is it safe to use on GREENWARE? I am short on time
and space in the kiln, so I only want to do one firing per project, i am
not planning on using a clear glaze, either., just the easiest way to
achieve a glazed look to satisfy my very young art students.Thanks again
Dolita on thu 20 jan 05
>hi, anyone know anything about mayco stroke and coat wonderglaze?
There is a very interesting article in the Jan/Feb issue of Pottery Making
Illustrated. Look up Exploring the Use of Commercial Glazes by Lisa Bare
Culp on p. 29. She uses these glazes as one would normally use an
underglaze with some very beautiful results. After using the Stroke and
Coat glaze as a highlight, she dips the piece in a ^6 glaze and fires to ^6
with great results.
Dolita
--
No virus found in this outgoing message.
Checked by AVG Anti-Virus.
Version: 7.0.300 / Virus Database: 265.7.1 - Release Date: 1/19/05
Valice Raffi on thu 20 jan 05
>Thanks for advice, but is it safe to use on GREENWARE?
Safe, yes, if you let it dry thoroughly before firing it probably won't
explode, but will it look good? I can't answer that because I haven't
tried it, but my best guess is that you will get pinholing.
Valice
in Las Cruces
Kathy McDonald on mon 24 jan 05
I use Mayco stroke and coat on greenware
over a brushed earthenware majolica glaze
and fire very slowly after thoroughly drying
to cone 04. The results are fine with limited
pinholing if you fire very very slowly and soak
the kiln for at least 30 mins at 04.
It is ,however, much easier to handle soft bisque
if you are doing this with kids.
Kathy
-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG]On Behalf Of Valice Raffi
Sent: Thursday, January 20, 2005 6:18 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: underglazes
>Thanks for advice, but is it safe to use on GREENWARE?
Safe, yes, if you let it dry thoroughly before firing it probably won't
explode, but will it look good? I can't answer that because I haven't
tried it, but my best guess is that you will get pinholing.
Valice
in Las Cruces
____________________________________________________________________________
__
Send postings to clayart@lsv.ceramics.org
You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/
Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
--
No virus found in this incoming message.
Checked by AVG Anti-Virus.
Version: 7.0.300 / Virus Database: 265.6.13 - Release Date: 1/16/2005
--
No virus found in this outgoing message.
Checked by AVG Anti-Virus.
Version: 7.0.300 / Virus Database: 265.7.2 - Release Date: 1/21/2005
| |
|
