Gail Dapogny on tue 5 mar 02
Joyce,
Amaco has a group of odd but interesting paints (or something) called
(unfortunately!) Rub n' Buff. They come in tubes, and you apply them with
a soft cotton, thin fabric such as men's t-shirts, then briefly and lightly
buff them. They are metallic, come in some interesting colors. There are
a few clay artists around using these for non-functional stuff. David
Stabley uses them exclusively -- over a sprayed matte black acrylic paint
surface over bisque ware -- for his beautiful tiles. But they can be used
on other surfaces including over glazes. They are fun and easy to use.
They are also non-toxic and permanent. Have a metallic look -- strongly
metallic in some of the colors, more subtle in others. They cost
$3-something per tube, or you can get the entire set for about $40 from
Amaco.
...Gail
>>>>Joyce said: >I considered painting with acrylics, but
>my understanding is that they dry faster than I'd like since I'm
>completely experimenting here ...... just for me, however, not necessarily
>for sale. I've looked through CM and found a Brent/Amaco/Genesis two-page
>ad that
>seems to describe an answer to my need. Question: have any of you used
>these "paints" on pottery? I'll most likely order a sample set
>regardless, but some experiences of claybuds would help. Caution: I'm
>operating from total ignorance ... but feeling the lure
Gail Dapogny
1154 Olden Road
Ann Arbor, MI 48103-3005
(734) 665-9816
gdapogny@umich.edu
Joyce Lee on tue 5 mar 02
Craig M. said:
"I haven't done this sort of thing but I know it's possible and can =
produce
some very nice results. Hamada used to do a lot of overglaze enamel
decoration after the pots came out of the high fire kiln"
--------------------------------------------------------
Thank you for the encouraging words, Craig.
Hamada, eh? A bit intimidating to contemplate. Especially since I'm =
only now reaching the point where I can make a decent slip line on a pot =
that isn't the result of an accident. Still if I were truly overcome by =
all the incredible potters who've contributed to the clay world before I =
discovered that clay has so many levels and nuances, I'd quit now....... =
=20
And you're right about needing to practice on tiles first. I don't know =
when I began using the pots with which I'm the most pleased .... and =
experimenting with THEM. They are few and far between and deserve a =
better fate than being the Objet d' Experimente. I have several outside =
around the scrub acreage .... not bad pots IF the observer can move =
past the Ugly glazes that bear witness to my urge to get it done! Rather =
than to get it done Right. Your advice is timely and appreciated.
As to lusters..... I'm fearful of getting lost in them and not being =
able to find my way back ..... AND that glaze that always drips off the =
pot during firing ... so that each pot needs a catchbasin, which then =
needs to be ground off!!! THAT one really feels as if I'd be looking =
into the Eye of the Maelstrom and never be seen again .....
Joyce
In the Mojave
Joyce Lee on tue 5 mar 02
Advice needed? I'm feeling an urge to
get some more pastel or jewel-like tones on the few teapots and platters =
that have so far avoided the Ride to the Dump.... especially influenced =
by the wildflowers in the Sierras. My pots have been fired to ^10 with =
^10 glazes, mostly TomColeman's from Aardvark, in copper red or celadon =
blues and greens; one in the Salt glaze from Laguna, a couple with =
Kurt's blue/green. This time around, no shinos, but there is a platter =
with Angel Eyes .....
I considered painting with acrylics, but=20
my understanding is that they dry faster than I'd like since I'm =
completely experimenting here ...... just for me, however, not =
necessarily for sale. I've looked through CM and found a =
Brent/Amaco/Genesis two-page ad that
seems to describe an answer to my need. Question: have any of you used =
these "paints" on pottery? I'll most likely order a sample set =
regardless, but some experiences of claybuds would help. Caution: I'm =
operating from total ignorance ... but feeling the lure ........
Paul, do you use something like this to paint your tiles? If so, maybe =
I should wait until your session at NCECA and see what you have to say =
..... maybe with slides? =20
Joyce
In the Mojave
Julie Milazzo on tue 5 mar 02
Hmmm... not sure if they're the same ones, but
recently purchased some paints that were supposed to
be able to mimic watercolors. They were pretty, but
fairly weak. I did use them only on greenware,
however, and maybe on bisque the white clay wouldn't
break down and dilute the paint. Worth a try if you
like watercolors... Julie
--- Joyce Lee wrote:
> Advice needed? I'm feeling an urge to
> get some more pastel or jewel-like tones on the few
> teapots and platters that have so far avoided the
> Ride to the Dump.... especially influenced by the
> wildflowers in the Sierras. My pots have been fired
> to ^10 with ^10 glazes, mostly TomColeman's from
> Aardvark, in copper red or celadon blues and greens;
> one in the Salt glaze from Laguna, a couple with
> Kurt's blue/green. This time around, no shinos, but
> there is a platter with Angel Eyes .....
>
> I considered painting with acrylics, but
> my understanding is that they dry faster than I'd
> like since I'm completely experimenting here ......
> just for me, however, not necessarily for sale.
> I've looked through CM and found a
> Brent/Amaco/Genesis two-page ad that
> seems to describe an answer to my need. Question:
> have any of you used these "paints" on pottery?
> I'll most likely order a sample set regardless, but
> some experiences of claybuds would help. Caution:
> I'm operating from total ignorance ... but feeling
> the lure ........
>
> Paul, do you use something like this to paint your
> tiles? If so, maybe I should wait until your
> session at NCECA and see what you have to say .....
> maybe with slides?
>
> Joyce
> In the Mojave
>
>
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Craig Martell on tue 5 mar 02
Hello Joyce:
If I'm reading things correctly, you want to try some overglaze enamels or
China Paints. Sure, go ahead. This might open up a few doors. You can
also use lusters if you want.
I haven't done this sort of thing but I know it's possible and can produce
some very nice results. Hamada used to do a lot of overglaze enamel
decoration after the pots came out of the high fire kiln.
You might want to give this a whirl on some tile or smaller pieces before
you commit the platters and teapots. The look of the high fire glazes
might change a bit and you'd want to give this possibility a test too. I
know that hi iron glazes are enhanced by a refire to around bisque temp.
hope things turn out well, Craig Martell in Oregon
Paul Lewing on tue 5 mar 02
on 3/5/02 7:42 AM, Joyce Lee at joycelee@IWVISP.COM wrote:
> I've looked through CM and found a =
> Brent/Amaco/Genesis two-page ad that
> seems to describe an answer to my need. Question: have any of you used =
> these "paints" on pottery?
> Paul, do you use something like this to paint your tiles? If so, maybe =
> I should wait until your session at NCECA and see what you have to say =
> ..... maybe with slides? =20
Hi, Joyce. I'm not familiar at all with the products you mention, although
I have used an Amaco product called Versacolor. Not sure if that's what
you're referring to or not.
But what I use are china paints. They are always refired on to an already
fired glaze, so they might work for what you have in mind. They will,
however, appear to lay on the surface of the other glaze, which might not be
what you're looking for. On the other hand, it might. I will be showing
some slides of china painted work at the Glaze Doctor session, so if you'd
like to ask something there, I'd be delighted. Of course you, Joyce, can
have any information I have about anything, just for the asking at any time.
See you soon.
Paul Lewing, Seattle
Martin Howard on wed 6 mar 02
When it is tea-time, that's 4.pm here, I want to relax with a pot of herb
tea on a platter with my favourite mug and a piece of cake can all sit in
harmony together.
I am doing sets of these for young relatives about to go to University or
College.
I've found that fancy patterns are not really wanted at that time; or strong
or brash colours. The nearest to perfection, IMHO, was a tea pot in blue and
green, by Fran Tristram, the shades blending together as they went around
the pot. Unfortunately the handle has become weak(knocked too many times in
the washing up bowl) so I must create something similar myself or wait 'till
I see her in August.
Strong but still pastel colours, like a beautiful sun rise or sunset
horizon. That's what seems to suit the occasion for me. Perhaps the odd tree
(mocha?) for interest.
I see lots of very decorated tea-pots, but they do not attract me,
personally.
But they must still sell well somewhere. Oh well, each to his/her own I
suppose.
Martin Howard
Webbs Cottage Pottery
Woolpits Road, Great Saling
BRAINTREE, Essex CM7 5DZ
01371 850 423
martin@webbscottage.co.uk
http://www.webbscottage.co.uk
Updated 3rd March 2002
Karin Abromaitis on wed 6 mar 02
Ah Joyce,
I think you may have confused luster with crystalline glazes. The crysta=
lline glazes do indeed run and require all sorts of precautionary measure=
s. But I 've never had any problem with lusters. Lots of fun effects!
Karin A.
----- Original Message -----
From: Joyce Lee
Sent: Wednesday, March 06, 2002 8:07 AM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Teapots/Platters
Craig M. said:
"I haven't done this sort of thing but I know it's possible and can prod=
uce
some very nice results. Hamada used to do a lot of overglaze enamel
decoration after the pots came out of the high fire kiln"
--------------------------------------------------------
Thank you for the encouraging words, Craig.
Hamada, eh? A bit intimidating to contemplate. Especially since I'm onl=
y now reaching the point where I can make a decent slip line on a pot tha=
t isn't the result of an accident. Still if I were truly overcome by all=
the incredible potters who've contributed to the clay world before I dis=
covered that clay has so many levels and nuances, I'd quit now....... =20
And you're right about needing to practice on tiles first. I don't know =
when I began using the pots with which I'm the most pleased .... and expe=
rimenting with THEM. They are few and far between and deserve a better f=
ate than being the Objet d' Experimente. I have several outside around t=
he scrub acreage .... not bad pots IF the observer can move past the Ugl=
y glazes that bear witness to my urge to get it done! Rather than to get =
it done Right. Your advice is timely and appreciated.
As to lusters..... I'm fearful of getting lost in them and not being able=
to find my way back ..... AND that glaze that always drips off the pot d=
uring firing ... so that each pot needs a catchbasin, which then needs to=
be ground off!!! THAT one really feels as if I'd be looking into the Eye=
of the Maelstrom and never be seen again .....
Joyce
In the Mojave
_________________________________________________________________________=
_____
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@pclin=
k.com.
Lee Love on thu 7 mar 02
----- Original Message -----
From: "Craig Martell"
>
> I haven't done this sort of thing but I know it's possible and can produce
> some very nice results. Hamada used to do a lot of overglaze enamel
> decoration after the pots came out of the high fire kiln.
At the workshop, the same enamels that Hamada used are used. We wipe the
surface where the enamel will be painted with a gelatin water mixture. It
makes the surface tacky and helps the enamel adhere.
--
Lee In Mashiko, Japan Ikiru@kami.com
"We can only wait here, where we are in the world, obedient to its processes,
patient in its taking away, faithful to its returns. And as much as we may
know, and all that we deserve of earthly paradise will come to us."
Wendell Berry , Full Quote: http://www1.ocn.ne.jp/~ikiru/berry.html
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