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  1. So, I do a lot of fine art equine ceramics. As I await the arrival of a few more pieces of equipment and supplies to fire up my mold making and casting of my own sculpture this summer, I am custom glazing some other artist's sculptures as custom orders for clients from all over the world. I thought some of you here might be curious what I do for a living. This first piece is very much in progress so I'll add more photos as he nears completion. This is a small earthenware sculpture called 'Hadrian'. This mini was sculpted as a Dales Pony by Sarah Rose and produced in earthenware bisque by Pour Horse Pottery. Some of the pieces were custom glazed at that pottery, some were produced in an original finish edition, and some were sold unglazed. I got a few of these in unglazed bisque. He stands about 3 inches tall or slightly less. The first photo I am attaching is the bisque with raw underglaze airbrushed on. Here I am using soft tools to remove some of the underglaze to add dappling to the palomino coat pattern. The white markings were masked with latex then removed and cleaned up using an exacto type craft knife.
  2. Hi, I would like to make a piece with a black base/background and a multi-coloured design over top. Is it possible to paint on top of black underglaze with other colours so that the overpainted colours stay true and pure instead of mixing with the black to form a mixed colour? Thanks, Lani
  3. Hyn Patty

    Nomad

    From the album: Hyn Patty LLC

    2.5 inch tall earthenware ceramic 'Nomad' sculpted by Kristina Lucas-Francis, produced by Pour Horse Pottery. Custom glazed to pinto 'Zorse' with zebra pattern by Hyn Patty, around 2006. Private Collection.

    © (c) 2006

  4. From the album: Hyn Patty LLC

    Mini "Spinnaker" grade or pony gelding sculpture by Sarah Minkiewicz-Breunig and produced in earthenware ceramic, 3 inches tall. Custom glazed by Hyn Patty in 2006 to a chestnut tobiano sabino pinto. Sold a public auction for just under $2k at that time, resides in a private collection.

    © (c) 2006

  5. Hyn Patty

    Monya

    From the album: Hyn Patty LLC

    4 inch tall 'Monya' Arabian stallion sculpted by Debora McDermott, produced in English fine bone china by Alchemy Ceramics of England. Custom glazed by Hyn Patty to a lightly dappled rose grey, 2008. Collection of the sculptor.

    © (c) 2008

  6. Hyn Patty

    Collier

    From the album: Hyn Patty LLC

    3 inch tall earthenware ceramic 'Collier' sculpted by Kristina Lucas-Francis and produced by Pour Horse Pottery. Custom glazed to dark dappled bay with pangare by Hyn Patty, 2021. Underglaze, satin clear, glossed eyes and hooves, china paints. Private Collection.

    © (c) 2021

  7. From the album: Hyn Patty LLC

    'Showman' sculpted by Kathi Boguki and produced in English fine bone china by the Horse Gallery, Horsing Around of England in 50 piece edition. Custom glazed to sooty buckskin appaloosa by Hyn Patty in 2021. Private Collection. Underglaze, satin clear, glossed eyes and hooves, china paint, white gold.

    © (c) 2021

  8. From the album: Hyn Patty LLC

    English fine bone china 'Loco Motion' sculpted by Chris Jolly and shown here in progress being custom glazed by Hyn Patty, 2021. Here the first layers of underlgaze have been airbrushed on, masking latex removed, and the overo pinto pattern all cleaned up and detailed for first firing. This piece was initially fired in my small Olympic Doll E kiln. As it is mounted on a base, the piece is stilted so that the base and the horse don't cool at different rates that may cause the legs to break if the base remained hotter too long. Mane and tail were claybody customized with earthenware added to bone china bisque before underglazing which is a very touchy process I won't go into here. I use a much larger kiln for other pieces or groups.

    © (c) 2021

  9. From the album: Hyn Patty LLC

    3 inch tall earthenware "Wee Bairn' pony foal sculpted and custom glazed by Hyn Patty, 2003. 10 piece edition, private collection. Underglaze, satin clear, glossed eyes.

    © (c) 2003

  10. From the album: Hyn Patty LLC

    3.5 inch tall earthenware ceramic sculpted by Maureen Love and produced by Hagen Renaker. Custom glazed to liver chestnut sabino pinto by Hyn Patty, 2021. Underglaze, clear satin, glossed eyes and hooves, china paints. Claybody customized resculpting and repaired broken legs done in the kiln to the bisque before glazing. Shown here sticky mounted to base.

    © (c) 2021

  11. From the album: Hyn Patty LLC

    3 inch tall earthenware ceramic 'Hadrian' sculpted by Sarah Rose, produced by Pour Horse Pottery. Custom glazed by Hyn Patty to dappled palomino Welsh Cob. Collection of the glazing artist. Underglaze, satin clear, glossed eyes and hooves, china paints.

    © (c) 2021

  12. From the album: Hyn Patty LLC

    English fine bone china 'Crusher' sculpted by Kitty Cantrell and produced by the Horse Gallery of Horsing Around of England. Claybody customized to add mane, braid, stud bridle and shoes myself, then under glazed to a dappled grey. Finished in satin glaze with low fired yellow gold buckles and white gold bit and shoes by Hyn Patty, 2006. Piece measures approximately 8 inches tall by 10 inches long - Private collection, sold for just under $4k at public auction. 2007 Realistic Equine Sculpture Society Best Custom Glazed Ceramic and People's Choice Awards.
  13. From the album: Hyn Patty LLC

    'Valentin' sculpture in English fine bone china sculpted by Brigitte Eberl. Custom glazed to reverse dappled bay roan by Hyn Patty, 2021. Stands about 7 inches tall by 9.5 long. Underglaze, clear satin, glossed eyes and hooves, china paints and white gold shoes. Private Collection.

    © (c) 2021

  14. From the album: Hyn Patty LLC

    Missouri Fox Trotter sculpture by Adalee Velasquez, 3 inches tall, eathenware ceramic. Custom glazed by Hyn Patty in 2021 to a bay tobiano. Underglaze, satin clear glaze, glossed eyes and hooves, china paints. Private Collection.

    © (c) 2021

  15. From the album: Hyn Patty LLC

    2.5 inch tall English fine bone china foal sculpture by Donna Chaney, custom glazed by Hyn Patty to a black rabicano Arabian. Underglaze, clear satin glaze, glossed eyes, china paints, 2022.

    © (c) 2022

  16. From the album: Hyn Patty LLC

    Black Sabino Tennessee Walking Horse standing 3" tall sculpted by Donna Chaney of England and custom glazed by Hyn Patty, 2007. Underglaze, satin glaze, gloss, white gold.

    © (c) 2007

  17. Hi! I'm a self taught artist, just starting out pottery.. soo i made a pottery mug and it's almost bonedry and i clean it up a bit then put an underglaze on it. The underglaze kinda weird, it dries off as soon as it touch the greenwaee. But i keep applying until all covered up. Now it's been a week and the underglaze become dusty and fell of the greenware.. i planning on firing it next month(?) is it supposed to be like that? is it normal that the underglaze fall off like that? what am i supposed to do?
  18. Hi folks, Today I was working on the Wedding Jar that I had made for a nephew, and was trying to accent their lettering for names and dates. I had stamped these in, but it was not quite clear so I cleaned them up and added a stain over top thinking to do a little mishima to bring the letters up. However, due to the curved surface I lost some of the letter forms. What to do. I used a small brush after engraving the missing areas to flow the glaze in, and that worked. At the same time I decided to use the brush with a white engobe to accent the flowers of the mountain laurel I had stamped into the form. My tip for the day though is much simpler. I had problems with getting the right amount of slip or stain on to the fine bristled brush. I tried a lot of different techniques and then tried to dip a sponge brush into the container of slip or stain and lay it over the top of the container loading the brush up from that. It worked perfectly with just the right amount of stain or slip to work into the brush and keep the fine work when painting on the pot. I was an art teacher, working with a lot of media, especially watercolor, acrylic, and inks. This technique I had never heard of, but it would work well with almost any media to keep from overloading a brush. So. . .. do any of you have some technique that would work well with the use of stains, underglazes, glazes, even if brushing, spraying, or other technique? Post it here, it would be great to hear from you. best, Pres
  19. It will be used on Standard 266 Dark Brown clay to paint into carved recesses, and NOT glazed over with clear. I’m looking for color to stand out against the deep brown of the vitrified clay. Like rich rust, teal, green…. Possibly for white stoneware as well, but right now, it’s the dark brown carved clay project that have numerous bisqued pieces waiting for an answer. The only ones I have used are Amaco Velvets (only Velour Black) and Speedball white. I know there are other brands out there, but I don’t know which ones flux. I don’t necessarily need it to be matte finish like the Amaco Velvets: just that I am not going to paint clear into every little carving to make it shiny. I usually like matte or satin anyway. The studio where I fire my work also has glazes for low-fire “paint your own pottery”. I tested those in the colors I liked, and all of them bubbled to some extent or the colors were dull. Other people have used them, but maybe not on this clay body, and always with a high fire clear on top. The Speedball white was for a different idea: I was trying to create a white base to use certain glaze colors that don’t show well on the 266 Dark Brown, or that blister on this clay; to have part of the piece unglazed dark brown, and the glazed area over the white base. The Speedball White fluxed under a glaze on top and came up through it: a truly ugly, spotty effect. I’ve moved on to using a white slip instead for the portion I plan to glaze: though I can’t really carve properly into it. If I could find the right product for this second concept, that would be great too. Thanks for your help.
  20. L Plater! I’ve bisque fired stoneware pre-glazed with 06-6 cone underglaze. I’m going to glaze with cone 9 glaze and fire at cone 9. Have i stuffed up using a low cone underglaze or is it ok?
  21. Hi everyone! I'm fairly new to glazing pottery, and have just unloaded a kiln full of pieces I had painted with underglaze, and applied a clear glaze over. Some pieces had been bisque fired with the underglaze already painted, and others were painted onto bisqueware, but all seem to have the same problem of the glaze avoiding areas where the underglaze is. In some places it has caused the underglaze to chip off, but mostly it's just all very rough feeling and patchy looking. There are a few pieces where the rough patches are a bit annoying but not too bad, but the majority have deemed the pieces unusable :-( I used the Amaco velvet underglazes, and a clear glaze from Scarva. The glaze required the kiln to be fired to a pretty high temperature - cone 1 at about 1137 celsius - so I'm wondering if this is the issue or if I've done something else wrong. I'm looking into finding a different lower firing clear glaze but am worried the same might happen again - and I would rather not attempt making my own glazes as I'm not experienced enough - so any recommendations would be much appreciated! I'll try to attach some photos to explain better what I'm talking about (might have to be in another post). Thanks! Amber :-)
  22. Hi there, I've recently begun experimenting with Amaco Velvet underglazes and am really enjoying them. If I have a foodsafe liner glaze on the interior of a mug, is there any concern with using only an underglaze on the exterior (with no clear on top)? Would it be dishwasher safe?
  23. Hi all, Currently I work with mid-fire slip and glaze my work 'traditionally' to achieve quite muted, natural tones. I'm thinking about making some wares that I want to be BRIGHT and flat in colour - like popping, primary colours. I'm wondering what the best way to achieve this level of colour would be? In my experience using stains in glazes never seems to achieve the flatness I'm after. I would suspect a coloured slip might be the answer but again using stains only seems to result in pastels - what is the average ratio of stain to slip to achieve a full bodied red for example? Or would I paint the work all over with an underglaze? Or something else. All suggestions appreciated!
  24. I think I must have missed the firing temp and sequence of applying a clear glaze over the underglaze in Sean O'Connell's amazing clayflicks member video. Specifically I like how the black velvet underglaze dots turn blue with streaking. What brand/type of clear is used, at what temp, and do you add the clear over underglaze at the bone dry stage or after the piece has been bisque? Thank you! Would love to give this effect a try.
  25. Hi everyone, i’m new to making ceramics and i have two questions. First one is that is it possible to paint your ceramics before it’s bisque? Second one is that please can somebody recommend me a good brand which has underglaze paints?
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