elizabeth priddy on sat 20 nov 99
My tiles are painted with onglaze application
with a sumi-e technique. I can also paint in
to the bisque an then clear glaze. Technically
it is underglaze, but that is not how I use it
and so I just refer to it as ceramic pigment.
I am not interested in getting flamed for my
decision to not mix my own colors from the raw
earth materials; but if you like the painted
effects I get, I would be happy to discuss this
with you off clayart.
I also do not mill my own electricity...but I
make some pretty work, by most accounts. I love
color and want to do that, not chemistry, with
what time I have.
There are many pictures to go by on my site.
---
Elizabeth Priddy
personal email: epriddy@usa.net
website: http://www.angelfire.com/nc/clayworkshop
On Fri, 19 Nov 1999 11:54:37 Alisa and Claus Clausen wrote:
>----------------------------Original message----------------------------
>------------------
>Dear Clayart,
>I mix up oxides with water and paint over some of my more neutral glazes for
>brush work in the glaze.
>I have always glazed first, and after painted the oxides on top of the glaze.
>
>I am wondering if there is any fundamental difference in effect (stability or
>bleeding, etc.) if the oxides are painted underneathe the glaze or painted on
>top of the glaze?
>
>In china painting I read there are both over and under glazes available, which
>lead me think about if there is any difference in the effect.
>In principle, is there a prefered method to paint with oxides, over or
>underneathe the glaze?
>
>Other than consistency of water and oxide mixture, is there a way to use them i
>a way that they stay stable, and not bleed or run? I know that each oxide has
>it's individual characteristics, but I am wondering if there are some rules of
>thumb for painting with them.
>Thanks and regards,
>Alisa in Denmark
>
>There are commercial underpaints and overpaints. However I have never used
>them.
>
--== Sent via Deja.com http://www.deja.com/ ==--
Share what you know. Learn what you don't.
Veena Raghavan on sun 21 nov 99
Hi Elizabeth,
I saw your posted reply to Alisa's request for help about on glaze
under glaze painting. I just visited your sight. You ask for critique on
your work. What can I say? It is so very beautiful. Your work is delicate
yet has such depth. I have nothing to say but that I am lost in admiration.
I have done some sumi-e painting on tiles and pots and some
combined this with watercolor effects. I did these with mostly with
underglazes. I started on earthenware, but was never happy with the
material, so more recently have worked with Cone 6 porcelain. (The studio
where I have been doing my work does not fire beyond Cone 6) These results
were more satisfying.
I just had to tell you that I hope that some day I will feel as
satisfied with my efforts as I was impressed by yours!
You told Alisa that you would not mind discussing your methods off
Clayart. If you would not mind sharing this with me as well, I would be
most grateful. I wonder whether you use oxides at all or do you use China
paints. I tried those years ago, the oil based ones, and was not at all
happy with the medium. I never could get the effects I wanted. I never did
try the water-based China paints.
I hope the Mermaid Song and Clay Portals exhibit was the huge
success it should be.
Before I leave you in peace, I also want to say that I enjoy your postings
and find them very educational. Not having my own studio and not being able
to use any of the technical knowledge I am learning through workshops,
reading and Clayart, I am just accumulating it. I am planning to move to a
new studio early next year, and hope I can find one with the "Clayart"
atmosphere and where I can practice some of what I have learned. Thanks for
sharing your knowledge with us.
All the best.
Veena
Veena Raghavan
75124.2520@compuserve.com
Joanna deFelice on tue 23 nov 99
wow! i just visited your site and was very impressed. i am not the least
concerned about not making my own glazes or clay or any of that, so no
flames from me!
i am, however, interested in learning somthing about the sumi-e technique
as applied to underglazes. i have always wanted to paint on clay, but my
results have always seemed so 'flat.' your work has depth and character.
any insights you are willing offer will be greatly appreciated.
thank you, joanna
elizabeth priddy on thu 25 nov 99
If you could describe how you are painting and
what kind of brushes you are using, I might be
able to help.
where are you by the way? I might be doing a
workshop near you soon.
---
Elizabeth Priddy
email: epriddy@usa.net
http://www.angelfire.com/nc/clayworkshop
Clay: 12,000 yrs and still fresh!
On Tue, 23 Nov 1999 10:42:37 Joanna deFelice wrote:
>----------------------------Original message----------------------------
>wow! i just visited your site and was very impressed. i am not the least
>concerned about not making my own glazes or clay or any of that, so no
>flames from me!
>
>i am, however, interested in learning somthing about the sumi-e technique
>as applied to underglazes. i have always wanted to paint on clay, but my
>results have always seemed so 'flat.' your work has depth and character.
>any insights you are willing offer will be greatly appreciated.
>
>thank you, joanna
>
--== Sent via Deja.com http://www.deja.com/ ==--
Share what you know. Learn what you don't.
Elizabeth Priddy on tue 6 may 03
Try this: glaze the pot white or clear. paint into that glaze. glaze again with clear. The first glaze will act as a barrier to the clay.The top coat will make it shiny. Use Reward Velvet Undrglazes for true color. It is made differently and the colors stay true. All this works for cone 6 electric and lower. When you apply the topcoat, brush with a clean hake onto very dry undercoat.
Valerie Hawkins wrote:I'm trying to do some brushwork on my pots. Just some leaf designs,
flowers, etc. All very simple. But I'm having a problem getting my colors
to stay true. Especially the greens and pinks. I'm using mason stains
mixed with frit 3134 and water, and also purchased underglazes on buff
stoneware, and then applying a clear glaze over all. The colors look good
after bisquing, but once glazed and fired, the colors are dull. I fire to
cone 6. I've tried several different clear glazes. Hansen's 5 X 20,
Chappel Clear Gloss and R&J's revision of 5X20. Should I go to a white
clay body, can I just not get vivid colors at cone 6, or would a different
glaze help?
Any advice would be appreciated.
Valerie
Charlotte
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Elizabeth Priddy
www.angelfire.com/nc/clayworkshop
Beaufort, NC
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