Kathy Forer on sun 22 may 11
I've never learned much about glazes though I've mixed and used a few. I =
=3D
am generally happy leaving a sculpture raw or painted in oil or other =3D
cold surface treatment. I've also used ceramic stains and slips when =3D
appropriate.
What kind of 'hot' finishes would allow me the control of color I get in =
=3D
something like the piece on the left? =3D
http://www.kforer.com/comparisons/color.shtml
I don't require WYSIWYG (what you see is what you get) and can do with =3D
experimentation. I can continue with modifying stains and engobes but =3D
would like to play with something different, more transparent, layered.
My base is usually cone 5 or 6 terra-cotta, buff or brown, sometimes =3D
stoneware, bisque fired to cone 05. I suppose I might be looking at =3D
china paints or something more translucent. Is there any way to make =3D
them, I have chemicals, where would I start? Could I mix colorants in a =3D
matte glaze or other vehicle and paint with that?=3D20
I will stay with oil as well but want to expand my choice of finish, =3D
especially for multiples.=3D20
Thanks!
Kathy Forer
marci Boskie's Mama =3D^..^=3D on tue 24 may 11
> Kathy Forer said:
>
>What kind of 'hot' finishes would allow me the control of color I get in =
=3D
>something like the piece on the left? =3D
>http://www.kforer.com/comparisons/color.shtm
(snip)
>My base is usually cone 5 or 6 terra-cotta, buff or brown, sometimes =3D
>stoneware, bisque fired to cone 05. I suppose I might be looking at =3D
>china paints or something more translucent. Is there any way to make =3D
>them, I have chemicals, where would I start? Could I mix colorants in a =
=3D
>matte glaze or other vehicle and paint with that?
Hi Kathy ,
China paints will definitely give you great control of color. It
is WYSIWYG with a few exceptions ( the gold based pinks, purples,
magentas, etc tend to look more muddy before they are fired and dont
develop their true color until they are fired ) ..
and since they fire translucent, you can layer color over
color and get some great effects.
The one problem will be that , because you are working over terra
cotta or brown glazes, you will only be able to use the darker range
of colors since the clay color will show through the fired chinapaint
( which is why we mostly work on white porcelain ) .. The buff will
allow you to use some of the lighter colors but the clay color will
affect the color of the fired chinapaint. The exception to this are
the actual metallic golds and the metallic colors which all fired
opaque . ( The metallic colors are mica based and fire like eye
shadow with a pearly kind of finish ) ..
AS far as making china paint, as Paul Lewing says, yes, you can ..
but its not worth the effort to do the testing you would need to do
to properly flux them . The manufacturers have that all worked out
already .. and chinapaints are relatively cheap and will go a really
long way since you only use them in thin layers.
If you want a matt finish, chinapaints can also still be the way
to do . You can purchase matt chinapaint or you can matt regular
chinapaints with a little zinc oxide. ( I sometimes will just put a
dab of a zinc oxide ointment , like Desitin , on my palette and use
that as a medium ...
If I can help with more information , dont hesitate to email me.
Marci the chinapainter
May Luk on tue 24 may 11
Hi Kathy;
May I suggest a modified maiolica technique. Tin white glaze loaded
with oxide can be matt-ish.
1- use a good tin white glaze like a slip, bisque fire it after dipping.
2- if you don't want to twice-bisque, set the glaze coat with a matte
vanish spray on (like those for charcoal drawings)
3- after bisque-firing, use a very soft mop brush and brush stains (or
chinapaint pigment) on as if you doing pastel painting, or putting on
make-up, build up the graduation gently.
4- glaze fire, and if the color is not intense enough, build it up
again with china paint.
This is like pastel painting with a gesso board (the tin glaze as the
gesso) You can build up the layers as well as make highlights
(deduction) with the brush.
Needless to say, wear mask and work in a ventilated space, etc etc.
Another way I have learnt to paint handbuilt work with slip from my
teacher Ken Eastman.
http://www.ceramics.tpc.gov.tw/biennale2008/en/w045.html
He works with engobe and does multiple firings. I think you would
enjoy either way. It's very painterly.
Regards
May
Brooklyn NY
On Sun, May 22, 2011 at 11:28 PM, Kathy Forer wrote:
> I've never learned much about glazes though I've mixed and used a few. I =
=3D
am generally happy leaving a sculpture raw or painted in oil or other cold =
=3D
surface treatment. I've also used ceramic stains and slips when appropriate=
=3D
.
>
> What kind of 'hot' finishes would allow me the control of color I get in =
=3D
something like the piece on the left? http://www.kforer.com/comparisons/col=
=3D
or.shtml
>
> I don't require WYSIWYG (what you see is what you get) and can do with ex=
=3D
perimentation. I can continue with modifying stains and engobes but would l=
=3D
ike to play with something different, more transparent, layered.
>
> My base is usually cone 5 or 6 terra-cotta, buff or brown, sometimes ston=
=3D
eware, bisque fired to cone 05. I suppose I might be looking at china paint=
=3D
s or something more translucent. Is there any way to make them, I have chem=
=3D
icals, where would I start? Could I mix colorants in a matte glaze or other=
=3D
vehicle and paint with that?
>
> I will stay with oil as well but want to expand my choice of finish, espe=
=3D
cially for multiples.
>
> Thanks!
>
>
> Kathy Forer
>
--=3D20
http://twitter.com/MayLuk
http://www.takemehomeware.com/
Rimas VisGirda on wed 25 may 11
I used to tell students that china painting on stoneware was like watercolo=
ring on a brown paper bag, it kills the brightness and translucency of the =
china paint... -Rimas
Lee on wed 25 may 11
On Wed, May 25, 2011 at 6:50 AM, Rimas VisGirda wrote:
> I used to tell students that china painting on stoneware was like
> watercoloring on a brown paper bag, it kills the brightness and transluce=
=3D
ncy
> of the china paint... -Rimas
>
White stoneware is a choice when you don't want dark clay effecting the
glaze. I use Continental Superwhite under my Chun blue glaze. I also use
Superwhite as my white slip. I buy it dry and just add water or add oxide=
=3D
s
for color. It is also a good flashing slip.
--=3D20
--
Lee Love in Minneapolis
http://mingeisota.blogspot.com/
"Ta tIr na n-=3DF3g ar chul an tI=3D97tIr dlainn trina ch=3DE9ile"=3D97tha=
t is, "T=3D
he land
of eternal youth is behind the house, a beautiful land fluent within
itself." -- John O'Donohue
marci Boskie's Mama =3D^..^=3D on wed 25 may 11
At 06:50 AM 5/25/2011, Rimas VisGirda wrote:
>I used to tell students that china painting on stoneware was like
>watercoloring on a brown paper bag, it kills the brightness and
>translucency of the china paint... -Rimas
That's a really good analogy, Rimas. Thanks.
marci
Snail Scott on wed 25 may 11
On May 25, 2011, at 6:50 AM, Rimas VisGirda wrote:
> I used to tell students that china painting on stoneware was like =3D
watercoloring on a brown paper bag, it kills the brightness and =3D
translucency of the china paint...=3D20
Or gives it subtlety.
I remember when comic books, originally printed=3D20
on cheap off-whte newsprint paper, began to go=3D20
upscale with smooth, bright white paper. The=3D20
paper quality was undoubtedly better, but the=3D20
colors went from bright to garish in a way that=3D20
often did the artwork no favors.
Sometimes pure white is just too absolute.
-Snail=3D20=3D
Kathy Forer on wed 25 may 11
Marci and May, Rimas and Lee,=3D20
Thank you for helping me understand how to move forward. Ideally I'd =3D
want a more complete understanding of glazes and chemicals, lack of =3D
which has been holding me back, but at this point I'd just as soon =3D
experiment and go from there. These are very useful directions!
Best regards,
Kathy
| |
|
