sabra wood on mon 19 apr 04
i have a final class assignment that i don't know how to do...
my instructors want me to do drawings on the sides of pots, and get a
look similar to the india ink & brush drawing studies i've been doing...
lots of variation in shades.
they want them on a white field.
and they don't want the running / blurring that we often see when
underglazes / washes are covered with a clear glaze.
the drawings don't have to be black.
i'm using a non-white stonware, standard 153, and firing cone 6 ox.
so far, i've thought of using watered down black slip used in class...
or watered down duncan concepts underglaze. probably because i have
both of those.
yesterday, i threw 9 test pots.
i'll white slip all of them.
then i thought i'd try the black slip or underglaze on some of the
pots, then bisque...
others, i'd bisque, then try the drawing.
finally, i'd put a clear glaze over them... dip? brush? spray? i sure
any ideas or insights will be very welcome.
ps - what qualifies as a signature on a clayart posting? is it
sufficient to have an email address with first name / last name?
Snail Scott on mon 19 apr 04
At 07:22 AM 4/19/04 -0400, you wrote:
>...my instructors want me to do drawings on the sides of pots, and get a
>look similar to the india ink & brush drawing studies i've been doing...
> and they don't want the running / blurring that we often see when
>underglazes / washes are covered with a clear glaze...
I've had good luck with underglazes staying put
without blurring. It works best with cobalt-free
formulas, I find - cobalt tends to blur more than
other oxides. Try various glaze recipes, too -
some cause more blurring than others.
Wet your bisqueware before painting. Your brush
strokes will flow more freely on a slightly damp
Susan Fox-Hirschmann on mon 19 apr 04
I have used Amaco Velvet Underglazes and find that wiped down bisque should
dry well, and then apply 2 coats watered down to get the effect that you want.
nothing moves with these things!
Of course there there are stains, that I have used the same way, with clear
glazes ontop I have never experience movement of glaze or stains.
Susan Fox Hirschmann
please visit http://www.silverhawk.com/ex99/hirschmann
Ivor and Olive Lewis on wed 21 apr 04
Dear Sabra Wood,
After thinking about your problem for a few days I am wondering about
the potential of using one of the black or dark stains mixed in
various proportions with slip made from the clay body or your white
slip and drawing directly onto leather hard clay.
This leaves the actual drawing technique wide open and you would be
free to use eraser treatments to eliminate or enhance the quality of
line and tone.
By the way, did you think to ask your instructors for examples of what
they had accomplished ? From the way you have described the exercise
they are ignorant of what can be achieved and have failed to give you
adequate instruction in times past.
I hope you are successful with your task.
Ivor Lewis. Redhill, South Australia