Applying 2 Glazes Side By Side With No BleedIs it possible?
Posted 09 August 2013 - 06:13 PM
If I were to use a blue glaze in a wavy curly design tumbling down the boxes (think waterfall) with a brown or green glaze along each side (think rocks and woods) how would I keep the 2 colors from bleeding and possibly creating a not so pretty color where they meet? Is this even possible?
Posted 09 August 2013 - 06:41 PM
Yes this is possible-it depends on the glazes and the temp range, as well if its a veritacal or horizontal application. If I recall you are working in low fire-so I'll let others chine in who work in this low temp field.
Posted 09 August 2013 - 08:03 PM
Make 3 boxes ( maybe 4 have it sketched both ways) each a bit smaller than the other. Stack them on top of each other sort of like a tall skinny Guatemalan pyramid, think steps not smooth transitions. Now carve into each box a swirly kind of abstract water feature so it looks like its tumbling down all the boxes. Since each box is slightly smaller than the one below it the waterfall will go from vertical to horizontal on each box as it goes from top to bottom. Not sure if that makes sense to anybody but me.
The boxes will each be separate not 1 whole towering multi level box. Each will have a simple flat lid that can be lifted off so that each layer could be a completely free standing entire box if desired.
I want to glaze the carved swirled parts with glossy blue glaze and I want to glaze the remaining portions in either a green or a brown preferably with a mat or satin surface. I want that contrast between the slick water and rough land.
So given my design what type of glazes should I be looking into? I was wondering if I could glaze the brown areas first fire that then apply the blue and fire that. Maybe a ^6 Tenmoku and a low fire blue of some kind? Would that keep the glazes separate or just make for a big mess?
Posted 09 August 2013 - 08:29 PM
You can do this with glazes, but be prepared to do a lot of testing. You'll likely need to find glossy and matte base glazes that are stiff and do not move when fired (almost something like a majolica glaze) . . . then try adding colorants to get the colors and surface you desire. A big challenge is where the two glazes will meet and melt together.
You could try cuerda seca (technique where a design is outlined in oxide-tinted wax resist, and the intervening spaces coated with glazes; finished results show areas of glaze divided by dark unglazed lines) to keep the glazes separate and prevent their melting together. I believe Aftosa makes a black stained wax resist that could be used to separate respective areas.
Another option is to use underglazes to paint the waterfall scene and then apply a clear glaze over it . . . if you apply your clear with a brush, there are commercial glossy and satin finishes available. Again, test to see how they like each other when fired side-by-side. And, test on both horizontal and vertical surfaces.
Posted 09 August 2013 - 09:17 PM
LOL! what he said! Experiment with the underglazes and clear.
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Posted 10 August 2013 - 07:05 AM
Apply the first glaze. Wax over it the exact pattern you want. Sponge away the excess and apply second glaze.
Posted 10 August 2013 - 10:24 PM
Posted 11 August 2013 - 08:19 AM
The suggestions on my thread are leaning hard on waxing over the poured glazes?
I think you would get more ideas if you could share the imagery you have in your head for your piece with a drawing.
Just lay the sketch down and shoot it with you digicam , or phone.
Posted 11 August 2013 - 11:32 AM
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Posted 12 August 2013 - 06:07 PM
If both colors of glaze are the same base formula, they will be less likely to run where they meet. Find a stiff glaze and test the colors.
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Posted 12 August 2013 - 06:47 PM
I have been experimenting with cone 6 majolica glazes (by Laguna?). They are very stable and can be placed next to each other without bleeding. The only time I've had any bleeding of one glaze into the other was a bowl that I painted a flower inside, on the bottom, and then made the rest of the pot black. It didn't destroy the flower, but there was more "shading" than I anticipated. Experiment, experiment, experiment. The color separation is better on a horizontal application than on vertical, but if you are trying to represent a waterfall, they don't have nice neat edges.
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