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Rob Hendriks

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Everything posted by Rob Hendriks

  1. On leatherhard clay you can also use a brush loaded with watercolor paint to draw a pattern.This paint disappear after firing and glazing.
  2. I doubt if an airbrush is suitable for glazes.You can use an airbrush for applying lusters, but make sure you don't breathe in the mist.
  3. I use blue foam to carve letters,and use the foam as a mold.Plaster can also be used but I prefer the foam,it is easy to use. Here is an earlier discussion about the letters; http://ceramicartsda...ttering-relief/
  4. I think a parian body becomes black with a black body stain,not very cheep but it becomes realy black.To lower the melting point of a clay, and to design a low firing 'porcelain' which itself glazes, you need to add melting ingredients.For example an alkali frit.
  5. Instead of using a vitrious slip(which will crack when applied to thick),you can also attach greenware particles to glazed or fired ware.Because they keep 'floating' on top of the glaze during firing they don't crack.Glaze will fix the particles to the piece .
  6. I use tools from a dentist to model in soft clay,maybe this is not very unusual.Maybe more unusual;I use a sheet of transparent(thick) plastic between my modeltools and the soft clay when I do carvings.And I use small needles for miniature carving work.Further;on a plate of dry plaster I paint with castingclay.When dry this 'miniature relief painting' comes free from the plaster and can be fired.
  7. Glaze cracking can occur when the glaze layer is applied to thick.Painting in thinner layers and firing layers seperately can solve this problem, but this is lengthy and more expensive.Applying the underglaze when the piece in greenware stage and the covering glaze at a later firing might help.Some clay/glazes combinations are tend to give more cracks then others combinations.Firing biscuitware higher then the glaze could also a help in reducing cracks.Keeping the covering glaze as thin as possible is another option.Avoid cooling too fast after firing.
  8. I think you need a high amount of a glazefrit with a low melting point, in your glaze recipe.Some lead and glas frits have low melting points.
  9. Connie,you can try adding layers of slip to the coral by doing a small test piece.Maybe it works with paperclay or paper porcelain clay.It is also possible to add porcelain paperclay to a chicken wire;but I don't know of this procedé is comparable to dipping a seafan in slip.
  10. You also can copy the texture from the bowl with latex.After making the mold ,then press the latex sheet mold into clay.Since latex is bendable, it can be used to impress a warped surface.
  11. The latex works excellent for tiles and plaques.I don't have use the rubber by myself but by reading about it,I think it is better and stronger then latex.But to get the idea and have some practice it is good to start with latex.Here in holland a bottle latex is easy to buy in creative stores,but maybe where you live you can also order some latex via internet and postal service.
  12. I use beside plaster for relief tiles also latex molds.With a slabroller the latex is pressed into the clay.It works fast but the clay must not be to soft ,otherwise the clay will stick into the mold. My problem with plaster is the loss of fine details after copying a model.The plaster mold losses profile soon after intensive use.Rubber is even better then latex, it can hold much more fine detail, and is not wearing out by long use.Rubber and latex molds are not suitable for every type of model,but it is ideal to impress with a mark or design.
  13. To make a vitreous slip,you can use the slip for casting and ad an amount of a glaze frit(for example an alkali frit). Suppliers also sell relief pastes for textures.
  14. For textures on already fired pieces you can also use a vitreous slip.It can be added to biscuit ware or It can even be used on a (thin)glazed surface.You have to fire the work again.
  15. Merry Christmas everyone! The flickr album is beautiful!I like the wire mesh pieces with the Southern Ice Porcelain.
  16. When you use alternative coatings other than glazes,it is important that your bisque ware is not to porous,because it will suck the paint or make the paint look dull.I think it is good to seal the biscuit with a vitreous slip,and paint later on the slip.This gives a glow to the acryl or oil paint.
  17. Rob Hendriks


    Ceramic Collages
  18. Mossyrock the foam is really great to make reliefs and to make molds.I used a dental tool to carve the letters.Another tip is to use a sheet of transparent plastic(for example from frozen bags) between a modeling tool and the foam,this makes carving more easy and you can use a wider broad of tools,even pencils or needles.
  19. A way I strengthen thin ceramics is -after firing and glazing-, glueing the fragile piece to bluefoam.When the glue is dry, I cut the excess foam away with a hotwire. I follow with the hotwire the contour of the ceramic piece.Now the thin ceramic figure is supported with the foam and much stronger.I also strengthen pieces with plywood,excess wood is removed with a figure saw,but I prefer the foam. Of course with this method, the final piece is not a pure ceramic piece. Another way I strengthen fragile work is turn the piece and paint casting clay on the back of the piece.Often in several layers with drying of the casting clay in between. Rob
  20. I use blue foam to carve letters,and use the foam as a mold.Plaster can also be used but I prefer the foam,it is easy to use.
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