Hyn Patty Posted January 9, 2023 Report Share Posted January 9, 2023 Yes, I know - more horses! I do a lot of equine pieces but my commission work is always stacked up with as much as a two year waitlist. And that's just for my sculpture finishing, not including my own sculpting, casting, etc but here are a few things I am working on or recently completed. 'Preciosa' - traditional scale Andalusian sculpted by Brigitte Eberl of Germany & produced in fine English bone china bisque by Horsing Around. I claybody customized the bisque into a stallion, thickened his shaved tail to be full, wavy and lush, added shoes to his back feet, added a double braided mane, long forelock, and tassels. Then I glazed him to a dappled sooty buckskin as a client custom order with white gold shoes and gold tassel beads. This sculpture stands 6 inches tall by 9 inches long, and just over 2 inches wide. There are several more photos with more information about materials and firing cones in my gallery showing this piece both in progress and completed here: https://community.ceramicartsdaily.org/gallery/album/1543-hyn-patty-llc/ oldlady, Rae Reich and kswan 3 Quote Link to comment Share on other sites More sharing options...
Hyn Patty Posted January 9, 2023 Author Report Share Posted January 9, 2023 While the 'Preciosa' is a brown sooty buckskin, I also completed this other client custom order of a lighter dappled buckskin. 'Cindi' is a traditional scale mare sculpted by Brigitte Eberl of Germany & produced in English fine bone china by Horsing Around of England. Again, most of the work is laid down in the underglaze layers and fired a few times to set the layers. Then I use Duncan ceramics clear satin for the body fired to cone 06 with high gloss for the eyes, hooves, and inside of the nostrels. Final color corrections and last details are added using china paints and if needed, enamels too, with white or yellow gold added for shoes and other details if applicable to the piece. These later details are fired at Orton cones 016 through 020. kswan, Rae Reich and Babs 3 Quote Link to comment Share on other sites More sharing options...
Hyn Patty Posted January 9, 2023 Author Report Share Posted January 9, 2023 And a shot of some of the china paints I use and how I apply them when working with a fine brush, carefully mixed with oils. If I am airbrushing them I mix the pigment powders with alcohol so that the spray will evaporate very rapidly when applied over already fired glazes. Appropriate mask filtration and ventilation is a must as some china paints are toxic. Rae Reich 1 Quote Link to comment Share on other sites More sharing options...
Hyn Patty Posted January 9, 2023 Author Report Share Posted January 9, 2023 (edited) Here is an English fine bone china bisque with the raw, unfired black underglaze. Here I have just begun work using masking fluid for the larger white areas and a craft utility blade to add the hair pattern and ticking. This first layer of underglaze will be fired at cone 04 and then additional layers will be added for the eyes, pink nose, mapping of the pattern, and to add soft silvering so that only a few areas will remain black once clear glazed. Airbrushed unfired underglaze is VERY fragile at this stage and very easy to scratch or scuff so care must be taken handling the piece. Edited January 9, 2023 by Hyn Patty oldlady and Rae Reich 2 Quote Link to comment Share on other sites More sharing options...
Hyn Patty Posted January 9, 2023 Author Report Share Posted January 9, 2023 Lastly for today, here is one of my own sculptures shown here in progress getting reworked. This is 'Wee Bairn' which I did years ago in a small 10 piece edition in earthenware. Now I am reworking the oil clay over wire to be a slightly different breed of foal (Welsh in this case) and once done I will be making a rubber waste mold and casting. From these I will produce plaster production molds for slip casting the new edition in earthenware and English fine bone china in my studio. When I get to making those molds I can post some updates to that process in the mold making and slip casting forum. He's gotten a lot of refinement work since this shot was taken. oldlady and Rae Reich 2 Quote Link to comment Share on other sites More sharing options...
Jeff Longtin Posted January 11, 2023 Report Share Posted January 11, 2023 Grerat looking work Hyn Patty! Can't imagine molding those. (I have but it wasn't fun.) In the 90's doll makers sought me out and I made several molds of dolls and doll heads. Coming from a pottery background I had no idea the effort needed to produce realistic doll heads. It takes quite the artful effort. Also appreciate that you acknowledge the contributions of others. Rae Reich and Hyn Patty 2 Quote Link to comment Share on other sites More sharing options...
Bam2015 Posted January 11, 2023 Report Share Posted January 11, 2023 Beautiful work! Thank you for sharing. Betty Hyn Patty 1 Quote Link to comment Share on other sites More sharing options...
Rae Reich Posted January 11, 2023 Report Share Posted January 11, 2023 Fascinating look into your beautiful work, hope you share more about working with china paints. Now that potters aren’t all working cone 10 reduction, nice to discover how to add low-fire accent effects to our brighter colors. I was inspired by Judy Chicago’s work in her “seminal” Woman Show to try them back then, but one workshop with her wasn’t sufficient, or I was too impatient, to do more than lusters after that. (Pretty sure I was using too much oil for silkscreen.) Hyn Patty 1 Quote Link to comment Share on other sites More sharing options...
Hyn Patty Posted February 9, 2023 Author Report Share Posted February 9, 2023 On 1/10/2023 at 9:26 PM, Jeff Longtin said: Grerat looking work Hyn Patty! Can't imagine molding those. (I have but it wasn't fun.) In the 90's doll makers sought me out and I made several molds of dolls and doll heads. Coming from a pottery background I had no idea the effort needed to produce realistic doll heads. It takes quite the artful effort. Also appreciate that you acknowledge the contributions of others. Thank you, Jeff! Molding these is so much fun and a great challenge! I myself do rubber molds for casting in resin, plaster molds for ceramics slip casting, and rubber masters for both. It is a steep learning curve but there are a variety of resources out there to help. Artist's blogs or Facebook pages are rich with shared information and photos. Smooth-on posts free tutorials for rubber and resin casting, etc. A lot of what is there must be adapted to whether you are working with rigid materials or flexible and a lot of it is trial and error, but if you are determined to try and not afraid to fail and try again, you can make some serious progress in time! I always have a ton more I want to learn. Kudos to those sculptors whose pieces I admire so much, and kudos to those who mold and cast them - because I do know how much work and thought has to go into it, too. Rae Reich 1 Quote Link to comment Share on other sites More sharing options...
Hyn Patty Posted February 9, 2023 Author Report Share Posted February 9, 2023 On 1/11/2023 at 9:38 AM, Rae Reich said: Fascinating look into your beautiful work, hope you share more about working with china paints. Now that potters aren’t all working cone 10 reduction, nice to discover how to add low-fire accent effects to our brighter colors. I was inspired by Judy Chicago’s work in her “seminal” Woman Show to try them back then, but one workshop with her wasn’t sufficient, or I was too impatient, to do more than lusters after that. (Pretty sure I was using too much oil for silkscreen.) Thank you, Rae! I hugely appreciate people jumping in and commenting here. I happen to host workshops on all the various things I know how to do - but that's only convenient if you can come out to the mountains of Western North Carolina! The fun thing about over glazes is that you are NOT limited to china paints! There are both opaque and transparent enamels as well - and it's good to read up on all the various pros and cons and arrange your firing schedules accordingly. So don't be afraid to dive right in. If you want to do more overglazing, the internet is wide open for you to search. Materials for you to order and try. Experiment, see what works for you! If you take careful notes you'll know what not to do next time, or what was a raging success and how to replicate it again! Rae Reich 1 Quote Link to comment Share on other sites More sharing options...
Hyn Patty Posted February 9, 2023 Author Report Share Posted February 9, 2023 This is the boy I'm working on resculpting right now with an all new mane and tail (shown in progress, not finished). This piece is an 8 inch tall resin waste casting descended from my original oil clay sculpture. With grey primer over the white resin, I sent his first version off to be 3D scanned. After casting a resin edition, I can shrink down my work for 3D printing smaller versions, mirror flipping, etc. This version is destined to be produced in resin, English fine bone china, and earthenware ceramic. Each version has to be handled differently. I will no doubt have to make alternations to simplify some of the finer details to facilitate easier molding and casting in the various media. For bone china or porcelain some parts will be cut off and molded, then the greenware reassembled and individially cleaned after casting but before bisque firing. It's good to finally get back to producing my own sculpture in ceramics again. I'll be custom glazing some of this boy by summer, I hope. I do my own casting in studio but I also use outside mold makers and casters as well - so I can run multiple editions in a year. It's just too much for one person to do it all by myself. I will also utilize guest artists to paint or glaze pieces for me to spread the love around and get his edition out there faster. Rae Reich 1 Quote Link to comment Share on other sites More sharing options...
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