Fred Parker on tue 19 feb 08
I want to use the written word (poetry, etc.) to decorate small items like
mugs and yunomi. I'd like to use a very small liner brush to inscribe
text onto a glossy white surface. If anyone can advise re glaze to use
for the ground, what to use for the text, and how to fire to avoid having
everything run/blend together I would very much appreciate it.
Many thanks,
Fred Parker
Paul Lewing on wed 20 feb 08
On Feb 19, 2008, at 7:27 PM, Fred Parker wrote:
I want to use the written word (poetry, etc.) to decorate small items
like
mugs and yunomi. I'd like to use a very small liner brush to inscribe
text onto a glossy white surface. If anyone can advise re glaze to use
for the ground, what to use for the text, and how to fire to avoid
having
everything run/blend together I would very much appreciate it.
Fred, what you need for this is china paint. You can put it on
either with a brush or with a lettering pen. A good medium for
mixing the dry powder china paint with is (by volume) two parts gum
arabic, one part glycerin, and one part vinegar. Mix this up, and
start adding powdered china paint to it. When you think you have it
about right, test it by taking a drop of the liquid, putting a drop
of it on a tile, and dragging the dry wooden end of the brush or pen
through it. It should make a clean mark through the liquid that
slowly closes up. If the track of the implement stays clear, it's
too thick. If it closes up right away, it's too thin. You'll get
the hang of this real quick. If you use a pointed pen, be sure not
to load it so much that the hole is closed with liquid. You can fire
this onto any already fired glaze, to any temperature between about
018 and 014.
Paul Lewing
www.paullewingtile.com
Bonnie Hellman on wed 20 feb 08
I would use a white glaze described as a majolica glaze, because it usually
means it won't move in the firing. However, of course, you'll want to play
with this.
Usually when I'm looking for a glaze, I'll Google it on clayart, pick out a
bunch, and make up 500 gram test batches. You're less likely to have
measuring errors with a 500 gram batch. I know that with 100 gram batches,
sometimes you end up needing miniscule quantities, which are hard to measure
accurately.
I have about 7 such glazes at ^5-6 in my files if you don't find them.
Bonnie
Bonnie D. Hellman, CPA
mou10ms@frontier.net
Ouray, Colorado 81427
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----- Original Message -----
From: "Fred Parker"
To:
Sent: Tuesday, February 19, 2008 8:27 PM
Subject: Text on a glaze
>I want to use the written word (poetry, etc.) to decorate small items like
> mugs and yunomi. I'd like to use a very small liner brush to inscribe
> text onto a glossy white surface. If anyone can advise re glaze to use
> for the ground, what to use for the text, and how to fire to avoid having
> everything run/blend together I would very much appreciate it.
>
> Many thanks,
>
> Fred Parker
>
> ______________________________________________________________________________
> Clayart members may send postings to: clayart@lsv.ceramics.org
>
> You may look at the archives for the list, post messages, change your
> subscription settings or unsubscribe/leave the list here:
> http://www.acers.org/cic/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots2@visi.com
asim mahmood on thu 21 feb 08
While joining the handles with teapots I always ensure for their =
slow drying to avoid hairline cracks at the joints. Last weekend despite al=
l the precautions I did get those cracks on some of the teapots and tried t=
o cover them up by rubbing gently the effected area with my thumb at bone d=
ry stage and was happy to note their disappearance. After the bisque firing=
I could see again the appearance of those hairline cracks at the joints bu=
t in lesser intensity. I am sure that the cracks are just on the outer surf=
ace / superficial as the slip used for joining was a bit thin but deep insi=
de the joints are firm.
=20
These teapots are in dark stoneware body and their outer surface=
s in the joints areas are to be kept glaze free but still these have to und=
er go glaze firing at cone 6 oxidation. Now my question is as to how can I =
save and retrieve these 9 teapots by getting rid off those cracks? Can I st=
ill fill them with something other than the glaze? I have to do the next fi=
ring on 02/22/2006. I need your advice but next time I will be extremely ca=
reful.
Thanks in advance, Asim Mahmood.
_________________________________________________________________
Connect and share in new ways with Windows Live.
http://www.windowslive.com/share.html?ocid=3DTXT_TAGHM_Wave2_sharelife_0120=
08=
Judy Smith on fri 22 feb 08
Where do you buy gum Arabic and would you please tell me where you buy your
China paints from? I have been thinking about experimenting with China
Paints. Is this mixture of the gum, glycerin, and vinegar only for
lettering or do you use it for regular China painting as well?
Thanks,
Judy Smith
-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Paul Lewing
Sent: Wednesday, February 20, 2008 11:36 AM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: Text on a glaze
On Feb 19, 2008, at 7:27 PM, Fred Parker wrote:
I want to use the written word (poetry, etc.) to decorate small items
like
mugs and yunomi. I'd like to use a very small liner brush to inscribe
text onto a glossy white surface. If anyone can advise re glaze to use
for the ground, what to use for the text, and how to fire to avoid
having
everything run/blend together I would very much appreciate it.
Fred, what you need for this is china paint. You can put it on
either with a brush or with a lettering pen. A good medium for
mixing the dry powder china paint with is (by volume) two parts gum
arabic, one part glycerin, and one part vinegar. Mix this up, and
start adding powdered china paint to it. When you think you have it
about right, test it by taking a drop of the liquid, putting a drop
of it on a tile, and dragging the dry wooden end of the brush or pen
through it. It should make a clean mark through the liquid that
slowly closes up. If the track of the implement stays clear, it's
too thick. If it closes up right away, it's too thin. You'll get
the hang of this real quick. If you use a pointed pen, be sure not
to load it so much that the hole is closed with liquid. You can fire
this onto any already fired glaze, to any temperature between about
018 and 014.
Paul Lewing
www.paullewingtile.com
____________________________________________________________________________
__
Clayart members may send postings to: clayart@lsv.ceramics.org
You may look at the archives for the list, post messages, change your
subscription settings or unsubscribe/leave the list here:
http://www.acers.org/cic/clayart/
Moderator of the list is Mel Jacobson who may be reached at
melpots2@visi.com
Paul Lewing on sat 23 feb 08
On Feb 23, 2008, at 1:19 PM, marci Boskie's Mama =^..^= wrote:
I know Paul loves the waterbased stuff .. which works fine
for his applications.. but with the kind of stuff I do ( I do a
lot of subtle skin tones on portraits ) , I just cant get
the blendability that I can with an oil based medium..
Marci's right, Judy. I am very committed to water soluble mediums
for my china painting, and I've never found anything I wanted to do
that I couldn't do with a water based medium. However, I have never
tried to do the incredibly subtle gradations that Marci does on her
portraits.
But that's not what you were asking about. You were asking about
lettering on your work. And if I were not so committed to water
soluble mediums, I would have mentioned that many of the same
companies who sell china paints also sell mediums, including usually
one called pen oil. There are several versions of this from several
different companies, but they are all designed to do exactly what
you're wanting to do. I like my gum/glycerin/vinegar stuff, but you
may prefer the pen oil. It comes in a small quantity and doesn't
cost much, so try them both.
Also incidentally, that is not my pen medium. I lifted that recipe
directly from a book called "A Book for the Curious Painter" by the
late and very lamented Gene Patterson.
Paul Lewing
www.paullewingtile.com
marci Boskie's Mama =^..^= on sat 23 feb 08
> Judy Smith wrote:
>Subject: Re: Text on a glaze
>
>Where do you buy gum Arabic and would you please tell me where you buy your
>China paints from? I have been thinking about experimenting with China
>Paints. Is this mixture of the gum, glycerin, and vinegar only for
>lettering or do you use it for regular China painting as well?
HI Judy,
There are a bunch of dealers who carry chinapaints. Here are a few:
( email me if you want more of them )
Rynne China www.rynnechina.com
Lisa
Bonin Studios http://www.jaynehoustonproducts.com/Main%20Page/PageMAIN.htm
Rosebud Paints: http://www.porcelainpainters.com/rosescat.htm
These are in small vials ( but china paint goes a
long way since it is applied in thin layers like watercolor )
If you are doing
a massive project and wanting huge amounts( pounds ) of
paint , you can go directly to the source at
Reusche www.reuscheco.com
The gum mixture that Paul recommends would
be mostly helpful for lettering or single stroke work where
you are not trying to do a lot of blending... because it will
dry fairly quickly
but if you want to do any subtle color blending ,
you would be better with an oil based medium... They are
more workable as they dont dry as quickly or get sticky .
There are different variations on oil mediums .. some
that dry hard and fairly quickly and some that stay workable
indefinitely ..
I know Paul loves the waterbased stuff .. which works fine
for his applications.. but with the kind of stuff I do ( I do a
lot of subtle skin tones on portraits ) , I just cant get
the blendability that I can with an oil based medium..
... although I do use waterbased mediums for some things ..
and even plain old sugar water sometimes... So .. what you use
really depends on what youre trying to do ..
There is an article on our Porcelain Painters website
that gives recipes for several oil based mediums...
www.ppio.com ..LIBRARY page... OILS AND MEDIUMS .... ( Mineral oil
or baby oil can be used to mix the paints and they
will stay workable indefinitely ) ...
Mostly it depends on the effect you are trying to achieve.. and
personal; preference as to brush feel .. ( I myself prefer a
little drag on the brush ..others like a slicker feel ) ...
You can also buy premixed mediums ...
If you can tell me what you are wanting to do with the paints,
I can maybe steer you in a more definite direction ... and our
PPIO website has a lot of information there for overglaze artists,
including website links, articles and a free listserv which
is clayart for china painters.. or feel free to contact me privately .
Also, if you are going to be at NCECA, Paul Lewing and I will be
co-hosting a breakout discussion group on Thursday on china
painting and I will have some new surface techniques to show ...(
If I can get a word in edgewise ... grin )
Marci Blattenberger Boskie's Mama =^..^=
http://www.marciblattenberger.com
marci@ppio.com
Porcelain Painters International Online http://www.ppio.com
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