Rachael Rice on sun 30 jan 00
I was wondering if anyone
can help me. I started this technique of cutting slabs and painting them
with Amaco Velvet underglazes and then cutting them in small pieces and
piecing them together randomly like you would piece a quilt together. I
then take the large slab I have made from the small pieces I have joined
and drape it over a bowl mold with the painted down facing the plaster.
I then use my small roller to seal the
back more firmly. I am not sure you can visualize this but anyway, my
question is how do I get the underglaze to dry quickly enough so my clay
still remains
plastic enough for me to manipulate as I try to join the pieces. If I
use my hair dryer to dry the top underglaze , the bottom clay is still
stiffening up which means it is not as easy to blend the pieces
together. It appears that thick layers of underglaze takes a long
time to dry. I usually like to use my slabs just a short while(about 1
hour) after I
roll it. The other question is that the under glaze does not stay
sharp.They seem to pick up my fingerprints and anything else that comes
upon it. It smudges so much from my handling and also from when I press
it
into the plaster mold. It is very sharp and intense when I first apply
the paint but completely loses that clearness after being handled. Is
there anything I can apply over it like hair
spray or an acrylic medium that will protect it from my handling it and
keep the colors bright like when they are first applied.. If I apply
some
protective lacquer that I can spray on, when should it be applied?. Will
it burn off in the
kiln? I use a school kiln and don't want anything on my pieces that may
ruin someone else's in the bisque firing. We fire earthenware to cone
05.
Thanks for the help.
Rachael
Gary & Carla Goldberg on mon 31 jan 00
Hi Rachael - I also use the velvet underglazes. I don't think this will
help you much, but I have found that the glazes are much more
predictable and stable if I do the following:
1. Fire the piece for the first time
2. Put on Underglaze & fire #2
3. Put on glossy overglaze and fire #2
This won't work since you plan on working with the clay before firing
it. However, when I switched to this method my colors were consistent
and a lot easier to work with.
Good Luck - Carla in Palmer, Alaska, still shoveling snow :(
Rachael Rice wrote:
>
> ----------------------------Original message----------------------------
> I was wondering if anyone
> can help me. I started this technique of cutting slabs and painting them
>
> with Amaco Velvet underglazes and then cutting them in small pieces and
> piecing them together randomly like you would piece a quilt together. I
> then take the large slab I have made from the small pieces I have joined
>
> and drape it over a bowl mold with the painted down facing the plaster.
> I then use my small roller to seal the
> back more firmly. I am not sure you can visualize this but anyway, my
> question is how do I get the underglaze to dry quickly enough so my clay
>
> still remains
> plastic enough for me to manipulate as I try to join the pieces. If I
> use my hair dryer to dry the top underglaze , the bottom clay is still
> stiffening up which means it is not as easy to blend the pieces
> together. It appears that thick layers of underglaze takes a long
> time to dry. I usually like to use my slabs just a short while(about 1
> hour) after I
> roll it. The other question is that the under glaze does not stay
> sharp.They seem to pick up my fingerprints and anything else that comes
> upon it. It smudges so much from my handling and also from when I press
> it
> into the plaster mold. It is very sharp and intense when I first apply
> the paint but completely loses that clearness after being handled. Is
> there anything I can apply over it like hair
> spray or an acrylic medium that will protect it from my handling it and
> keep the colors bright like when they are first applied.. If I apply
> some
> protective lacquer that I can spray on, when should it be applied?. Will
> it burn off in the
> kiln? I use a school kiln and don't want anything on my pieces that may
> ruin someone else's in the bisque firing. We fire earthenware to cone
> 05.
> Thanks for the help.
>
> Rachael
Cindy Strnad on mon 31 jan 00
Rachael,
Just a couple of ideas to try . . . Your technique sounds really
interesting. Maybe it would work better for you to use colored slips, rather
than underglazes. They would be less inclined to rub off as you work, though
they would give your finished pieces a different look.
Another possibility, though much harder work, and you'd sacrifice some of
the spontaneity, would be to paint the pieces after assembly.
I don't think the velvets are going to make a real durable medium to work
with in the raw, no matter how nicely you dry them. Coating them with a
hardener such as starch or hairspray (I wouldn't use a shellac or varnish,
etc.--could cause a dangerous situation in the kiln) may keep them from
drying at an even rate. Perhaps a bit more CMC would help, but I doubt it,
especially since you're manipulating the slabs after glazing.
However . . . whether you decide to use underglazes or slips, cover your
slabs and allow the moisture in the applied coating to equalize with the
moisture of the slab over a time period. You will have to determine just how
long. Even lightly covered, your slabs will stiffen. By the time they've
reached the stiffness you like, I'll bet the moisture will have equalized
between slab and colorant.
Cindy Strnad
earthenv@gwtc.net
Earthen Vessels Pottery
RR 1, Box 51
Custer, SD 57730
Carol Seidman on mon 31 jan 00
Rachael: I dont think underglazes are the best approach for soft clay
that will be further manipulated. For the project you describe, I would
make colored clay by adding pottery stains to your clay body. Wear
rubber gloves and wedge the powder in.
The colored clays can be rolled out, layered with another color and
rolled again making a multi color block or wedge two colors into a fudge
ripple effect. Once you have a variety of multi colored blocks, take
slices of the blocks and make your patchwork. Hope this helps. Carol
Seidman
Rachael Rice wrote:
>
> ----------------------------Original message----------------------------
> I was wondering if anyone
> can help me. I started this technique of cutting slabs and painting them
>
> with Amaco Velvet underglazes and then cutting them in small pieces and
> piecing them together randomly like you would piece a quilt together. I
> then take the large slab I have made from the small pieces I have joined
>
> and drape it over a bowl mold with the painted down facing the plaster.
> I then use my small roller to seal the
> back more firmly. I am not sure you can visualize this but anyway, my
> question is how do I get the underglaze to dry quickly enough so my clay
>
> still remains
> plastic enough for me to manipulate as I try to join the pieces. If I
> use my hair dryer to dry the top underglaze , the bottom clay is still
> stiffening up which means it is not as easy to blend the pieces
> together. It appears that thick layers of underglaze takes a long
> time to dry. I usually like to use my slabs just a short while(about 1
> hour) after I
> roll it. The other question is that the under glaze does not stay
> sharp.They seem to pick up my fingerprints and anything else that comes
> upon it. It smudges so much from my handling and also from when I press
> it
> into the plaster mold. It is very sharp and intense when I first apply
> the paint but completely loses that clearness after being handled. Is
> there anything I can apply over it like hair
> spray or an acrylic medium that will protect it from my handling it and
> keep the colors bright like when they are first applied.. If I apply
> some
> protective lacquer that I can spray on, when should it be applied?. Will
> it burn off in the
> kiln? I use a school kiln and don't want anything on my pieces that may
> ruin someone else's in the bisque firing. We fire earthenware to cone
> 05.
> Thanks for the help.
>
> Rachael
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Cheryl Tall on mon 31 jan 00
Hi Rachael: I think you would be better off using colored clay for the
technique you describe. Take a white low fired clay body, possibly a talc
body, divide it into portions and add mason stains or oxides and wedge one
color to each portion. This can also be done with porcelain but this would
be for firing from cone 5 to 10.
With this technique, the color would be all the way through and would not
rub off or crack.
Cheryl Tall
Stuart, Florida
Rachael Rice wrote:
> ----------------------------Original message----------------------------
> I was wondering if anyone
> can help me. I started this technique of cutting slabs and painting them
>
> with Amaco Velvet underglazes and then cutting them in small pieces and
> piecing them together randomly like you would piece a quilt together. I
> then take the large slab I have made from the small pieces I have joined
>
> and drape it over a bowl mold with the painted down facing the plaster.
> I then use my small roller to seal the
> back more firmly. I am not sure you can visualize this but anyway, my
> question is how do I get the underglaze to dry quickly enough so my clay
>
> still remains
> plastic enough for me to manipulate as I try to join the pieces. If I
> use my hair dryer to dry the top underglaze , the bottom clay is still
> stiffening up which means it is not as easy to blend the pieces
> together. It appears that thick layers of underglaze takes a long
> time to dry. I usually like to use my slabs just a short while(about 1
> hour) after I
> roll it. The other question is that the under glaze does not stay
> sharp.They seem to pick up my fingerprints and anything else that comes
> upon it. It smudges so much from my handling and also from when I press
> it
> into the plaster mold. It is very sharp and intense when I first apply
> the paint but completely loses that clearness after being handled. Is
> there anything I can apply over it like hair
> spray or an acrylic medium that will protect it from my handling it and
> keep the colors bright like when they are first applied.. If I apply
> some
> protective lacquer that I can spray on, when should it be applied?. Will
> it burn off in the
> kiln? I use a school kiln and don't want anything on my pieces that may
> ruin someone else's in the bisque firing. We fire earthenware to cone
> 05.
> Thanks for the help.
>
> Rachael
Paula Sibrack on mon 31 jan 00
Rachael, I like the non-traditional way you are using UG and slabs, but it
creates a tough problem. Could you lightly dry the surface of the slab with
the UG and cover it with thin "cleanser's" plastic? That would prevent the UG
from smudging and the extra plastic would facilitate removing the slab from
the plaster mold. When the exposed slab is stiff, remove it from the mold and
carefully peel off the plastic, allowing that surface to catch up with the
drying. This just might work. Paula Sibrack Marian, in the snowy woods of
Sherman, CT
Janet Kaiser on tue 1 feb 00
Although I do not know the product you are using, I believe the problem is
in the method... Underglaze is not manufactured with this use in mind. It is
simply made for what it says: under the glaze. When your pot is finished,
you can then put underglaze on... usually after the biscuit firing and
before you glaze.
Having read how you are making your work, what about using coloured slips
instead? You would still have to try not to handle the clay, but there is
more lee- way and less likelihood of taking all the colour off through
handling... I believe slips would also be a much more economic solution.
Just a though!
Janet Kaiser
The Chapel of Art: Home of The International Potters' Path
Criccieth LL52 0EA, GB-Wales, UK
WEBSITE: http://www.the-coa.org.uk
EMAIL: postbox@the-coa.org.uk
We have server problems. If you cannot access
The CoA web page, please try again later. Thanks!
-----Original Message-----
From: Paula Sibrack
To: CLAYART@LSV.UKY.EDU
Date: 31 January 2000 19:47
Subject: Re: Underglaze Problems
>----------------------------Original message----------------------------
>Rachael, I like the non-traditional way you are using UG and slabs, but it
>creates a tough problem. Could you lightly dry the surface of the slab with
>the UG and cover it with thin "cleanser's" plastic? That would prevent the
UG
>from smudging and the extra plastic would facilitate removing the slab from
>the plaster mold. When the exposed slab is stiff, remove it from the mold
and
>carefully peel off the plastic, allowing that surface to catch up with the
>drying. This just might work. Paula Sibrack Marian, in the snowy woods of
>Sherman, CT
>
Antoinette Badenhorst on wed 2 feb 00
Rachael I want to add at what Cheryl said: If you put
your colored clay thick enough on,you might be able to
scrape away where it smudged to get the crisp line
that you want(I think she refer to clay inlay).
Depending on the type of designs that you make you can
use colored slips and masks to get a perfect sharp
line. I never practiced this method to perfection,but
if you are interested,I will explain to you.You can
use several colors on one piece in this way. Another
way to create interesting designs on clay will be by
putting the colored clay together in a puzzle(agate
method)
Good luck.
Antoinette.
--- Cheryl Tall wrote:
> ----------------------------Original
> message----------------------------
> Hi Rachael: I think you would be better off using
> colored clay for the
> technique you describe. Take a white low fired clay
> body, possibly a talc
> body, divide it into portions and add mason stains
> or oxides and wedge one
> color to each portion. This can also be done with
> porcelain but this would
> be for firing from cone 5 to 10.
>
> With this technique, the color would be all the way
> through and would not
> rub off or crack.
>
> Cheryl Tall
> Stuart, Florida
>
> Rachael Rice wrote:
>
> > ----------------------------Original
> message----------------------------
> > I was wondering if anyone
> > can help me. I started this technique of cutting
> slabs and painting them
> >
> > with Amaco Velvet underglazes and then cutting
> them in small pieces and
> > piecing them together randomly like you would
> piece a quilt together. I
> > then take the large slab I have made from the
> small pieces I have joined
> >
> > and drape it over a bowl mold with the painted
> down facing the plaster.
> > I then use my small roller to seal the
> > back more firmly. I am not sure you can visualize
> this but anyway, my
> > question is how do I get the underglaze to dry
> quickly enough so my clay
> >
> > still remains
> > plastic enough for me to manipulate as I try to
> join the pieces. If I
> > use my hair dryer to dry the top underglaze , the
> bottom clay is still
> > stiffening up which means it is not as easy to
> blend the pieces
> > together. It appears that thick layers of
> underglaze takes a long
> > time to dry. I usually like to use my slabs just
> a short while(about 1
> > hour) after I
> > roll it. The other question is that the under
> glaze does not stay
> > sharp.They seem to pick up my fingerprints and
> anything else that comes
> > upon it. It smudges so much from my handling and
> also from when I press
> > it
> > into the plaster mold. It is very sharp and
> intense when I first apply
> > the paint but completely loses that clearness
> after being handled. Is
> > there anything I can apply over it like hair
> > spray or an acrylic medium that will protect it
> from my handling it and
> > keep the colors bright like when they are first
> applied.. If I apply
> > some
> > protective lacquer that I can spray on, when
> should it be applied?. Will
> > it burn off in the
> > kiln? I use a school kiln and don't want anything
> on my pieces that may
> > ruin someone else's in the bisque firing. We fire
> earthenware to cone
> > 05.
> > Thanks for the help.
> >
> > Rachael
>
=====
Antoinette Badenhorst
PO Box 552
Saltillo,Mississippi
38866
Telephone (601) 869-1651
timakia@yahoo.com
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judy smith on thu 21 feb 08
I painted a design on a bowl with Amaco Velvet underglaze and bisque fired it. In a few areas my Terracotta underglaze overlapped my Medium blue underglaze and it shows up as a darker area under the Terracotta color. I am wondering how to fix this. If I apply 3 more coats of the Terracotta underglaze over the existing underglaze will it cover my mistake? Should I try to sand/scrape the problem underglaze areas off the reunderglaze them? Does anyone have any other suggestions?
Any advice would be appreciated and thanks in advance for your suggestions.
Judy Smith
Nashville, TN
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