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vivk

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  1. Hi Hi. thanks for this tip- I am wanting to find a source of the cotton linter that you are referring to. Can someone help me please. Many thanks!
  2. Well, hallelujah! I finally got the 2 books I ordered in August (its now the 21st December!) I would just love to know where the hold-up was, but at least I will have a happy Christmas browsing my books, made of real paper and you can hold it in your hand. Yes I am old school and will always love the feel of a REAL BOOK!!
  3. It would be great if you could try that Igustan. I can't wait to experiment but I need to get those spice jars refired first...
  4. I would think that a lot of glazes contain toxic materials as well. And the amount of paint I intend using would probably be only 20 ml or so.
  5. Thanks Rae. That is what I was going to ask as well. We also get acrylic paint pigments here n liquid form which are used to colour wall paints. I might try experimenting with those - I have a turquoise sample which I presume may have some copper in it to provide the green? Could be interesting. It is pretty concentrated - a small 50 ml bottle of pigment can colour a whole litre of white acrylic paint.
  6. Hi all I would so appreciate it if anyone could give me a fairly scientific explanation of the difference between stains used in glazes and stains used in Overglazes. Are the overglazes more refined pigments - or calcined to a higher degree than the glaze stains. It may seem like a fundamental question to seasoned potters but I have been unable to find a good explanation. Even digital fire does not really explain it properly or at least in a way I can understand it from my varsity chemistry days.
  7. Thanks Rae. I was thinking exactly that until I found out what gold lustre costs!! Eeeek! Some time ago I experimented with gold transference acrylic paint I had. Fired it to cone 018 et voila! It worked! It also did not wash off. The surface I applied it to was quite rough though. I thought I might try the silver and bronze metallic acrylic paints I have to see what happens. Ever the child I am.
  8. Thank you Rae. That is good advice. I tend not to be consistent. If something doesn't work first time round for me I simply abandon it and try something else - a new clay body or a new slip recipe before trying to perfect the old one. I should stick to one thing till I get it right.
  9. Hi JohnnyK. The glaze I used in this case was a Gerstley Borate glaze (we get GB in South Africa) which I got at ICAN membership page https://ceramicartsnetwork.org/ceramic-recipes/low-fire/clear-glaze-base-warm-yellow/ But I left out the rutile which is in that recipe. I had used a white engobe slip recipe on my leatherhard jar (I used a recipe from ICAN section) before I bisqued the jar at cone 04. (1040 degree C) That came out nice and white, so I thought the base glaze would work well over the white bisque. Disaster! The white engobe disappeared taking the pic and writing with it!
  10. thanks for your input guys-appreciate it.
  11. Hi- sorry for the misunderstanding- no I did not put lustre on the first firing- just ordinary earthenware gloss glazes. I want to put the lustres over this
  12. Hi all I have found very little on metallic lustre firing on google and even on this forum.Can anyone help me with lustre firings, techniques etc. I had a disappointing firing results this week- it was my local red earthenware and I applied the glaze too thin, resulting in lots of patches of red earthenware showing through. (fired to cone 03).I was wondering if I could refire the pieces with overglazes and lustres to cover up those areas. Anyone tried this successfully.I would so appreciate your input.
  13. Thanks- I kind of knew that but I was kinda hoping there was someone out there who knew better or had had a lucky break. Lol!
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