Chantay Posted April 30, 2015 Report Share Posted April 30, 2015 So now that I have some glazes working I want to try doing some decorative brush work. The pic I am posting is the type of inky color I am looking for. Also would like to be able to make the strokes streaky looking. My understanding is to get this look the brush work is done on top of the glaze. I have tested a 50/50 mix of iron oxide and gerstly borate on three separate glazes. Brush marks disappeared on two glazes. On the one glaze where the marks were visible after firing they were very faint. Can anyone make suggestions? When I remember whose pot this is I will credit it unless someone has already stated it. Thanks. Oh!!!!! Michael Kline! Link to comment Share on other sites More sharing options...
Cavy Fire Studios Posted April 30, 2015 Report Share Posted April 30, 2015 I'd try Amaco's black velvet underglaze. It has a lot of hue variation per stroke and gives cool "bleeding" effects. I use a watered-down version of it for my shading. I think it fires up to ^10, but I'm not 100% sure. Link to comment Share on other sites More sharing options...
bciskepottery Posted April 30, 2015 Report Share Posted April 30, 2015 That is a Michael Kline pot. http://www.klinepottery.com/ He does his artwork as wax resist on greenware, then glazes - one fires his work. You might want to try mason stains mixed with GB; the RIO may be reacting with the base glaze. Link to comment Share on other sites More sharing options...
S. Dean Posted April 30, 2015 Report Share Posted April 30, 2015 Hi Chantay, Michael Kline's brush work isn't done on top of glaze. He decorates greenware with a wax/stain combo which are then slipped. His pots are finished in a wood kiln, so this probably introduces some extra fluxing. Here are two videos showing his decorating and slipping processes. *****EDIT - Haha, hit post to find out that bciskepottery had just posted one of the same MK videos. Link to comment Share on other sites More sharing options...
PRankin Posted April 30, 2015 Report Share Posted April 30, 2015 I wish my hands were steady like his so I could paint like that. Paul Link to comment Share on other sites More sharing options...
TJR Posted April 30, 2015 Report Share Posted April 30, 2015 Chantay; Iron os a flux on it's own. You don't need any Gerstly.Try 5 teaspoons of iron and one of Albany/Alberta slip clay. I use black iron oxide. Are you firing in an electric kiln? If so, you are oxidizing the iron outta there. Tom. Check out my gallery for brush decoration. T Link to comment Share on other sites More sharing options...
Chantay Posted May 1, 2015 Author Report Share Posted May 1, 2015 Well, no wonder I wasn't having any luck getting a similar look. I could just use black underglaze under a clear glaze except the underglaze doesn't flow well enough to do this kind of brush work. I was hoping to use black iron oxide so that places where the brush work was thin it would be semi-translucent or gray. I was hoping that a well known maker/instructor of Japanese pottery would see this post and make a suggestions. Tom, I will give the clay/iron mix a try and see how it comes out. Test, test, test. I think I know understand how a potter can make the same pots with the same glazes year after year. I am so burned out on glaze test.... Link to comment Share on other sites More sharing options...
oldlady Posted May 3, 2015 Report Share Posted May 3, 2015 chantay, i have noticed your burnout. it shows in the recent posts you have made. glazing does not have to be agonizing, it just has so many variables that affect the results. just changing one thing at a time means you will be 100 years old by the time you test everything that attracts you. try some of the well publicized and commonly used recipes in books. once you get a glaze that works on your clay and the way you fire, you are ahead of the game. at that point, try different colors using the base glaze that works and you will eventually have a working palette of stable and attractive glazes. then the fun begins when you combine them! there are matte glaze recipes that work. the Varigated Slate Blue in Hesselberth and Roy is one. i do not use it if i want texture to show through as it covers evenly. that is a quality of glaze that is not mentioned in recipes but i think it should be. most of what i make has carved or relief work that i want to show. added today, VSB glaze looks great on top of some other glazes, just came across a test i did years ago and it was there. Link to comment Share on other sites More sharing options...
High Bridge Pottery Posted May 3, 2015 Report Share Posted May 3, 2015 I read an article recently where the potter fired cone 6 glazes to cone 10 to get that 'runny' design. (Ceramics monthly April 15) http://nicole-aquillano-ceramics.com/ Link to comment Share on other sites More sharing options...
TJR Posted May 3, 2015 Report Share Posted May 3, 2015 Chantay; You still are not saying if you are firing electric or gas, oxidation or reduction and to what cone? This would help immensely with advice. Iron won't show up in an oxidation firing to the same degree. T Link to comment Share on other sites More sharing options...
Chantay Posted May 3, 2015 Author Report Share Posted May 3, 2015 Old lady, I am burned out on glaze testing. This past week was a great turnaround. I made about 40 test tiles with three new glazes. All the New glazes worked great. I also found some great combinations. I have reliable receipies. I think there was some operator error. I think a lot more info could be given with glaze receipies. I like a dark red clay. Most glazes look terrible on it even if they look good on white or tan clay. The red clay has a lot of iron in it. Many glazes won't work with it. Sorry Tom, I fire cone 5/6 electric. The black iron oxide does look burnt out. So what do the Japanese potters put on their wood fire pots? At least part of the firing is in oxidation. Link to comment Share on other sites More sharing options...
bciskepottery Posted May 3, 2015 Report Share Posted May 3, 2015 So what do the Japanese potters put on their wood fire pots? At least part of the firing is in oxidation. A part of any natural fuel kiln firing is in oxidation, even wood. A natural fuel firing may include a body reduction phases (typically early on, around cone 012 to 010 and a glaze reduction phase (typically at near the end of the firing). At the end of the firing, you close off the fuel ports and the damper . . . basically, preventing air to enter the kiln while it cools. At least that is my understanding. They use red iron oxide, other oxides, etc. The challenge is finding glazes that work with the oxides. Red iron oxide, in addition to being a colorant, is also a flux that can cause an otherwise stiff, non-moving glaze to become runny. It is how the red iron oxide interacts with the glaze ingredients. Link to comment Share on other sites More sharing options...
Chantay Posted May 6, 2015 Author Report Share Posted May 6, 2015 I have been thinking about this. I will try some test with RIO with and without some stain add and maybe some fruit. I will mix with wax and apply to green ware. I will then slip the pot with white flat. For glaze firing I will wax the brush work then clear glaze the slip. Link to comment Share on other sites More sharing options...
oldlady Posted May 6, 2015 Report Share Posted May 6, 2015 fruit?? will that work like chocolate? dark chocolate Klondikes work for me. Link to comment Share on other sites More sharing options...
Callie Beller Diesel Posted May 7, 2015 Report Share Posted May 7, 2015 Fruit=autocorrect for frit. Link to comment Share on other sites More sharing options...
oldlady Posted May 7, 2015 Report Share Posted May 7, 2015 hahahahahahahahahahahahahahahahahahahaha! Link to comment Share on other sites More sharing options...
Chantay Posted May 7, 2015 Author Report Share Posted May 7, 2015 Ha, spell check. It is such a love/hate relationship. Link to comment Share on other sites More sharing options...
S. Dean Posted May 8, 2015 Report Share Posted May 8, 2015 Haven't used these products, but the Ceramic Shop sells a couple of brands of colored wax resist http://www.theceramicshop.com/store/category/14/226/Wax-Resist/ They are supposed to work in your firing range. Link to comment Share on other sites More sharing options...
Min Posted May 8, 2015 Report Share Posted May 8, 2015 fruit?? will that work like chocolate? dark chocolate Klondikes work for me. if fruit is spellcheck for frit then chocolate frit would be Nesquik? (sorry, it's late and that's all I could come up with) Link to comment Share on other sites More sharing options...
ChenowethArts Posted May 8, 2015 Report Share Posted May 8, 2015 Fruit=autocorrect for frit. That one stopped me as well, lol. I could see a "What is your favorite glaze fruit?" becoming an interesting question of the week. Orange you glad I didn't do that? -Paul Link to comment Share on other sites More sharing options...
TJR Posted May 8, 2015 Report Share Posted May 8, 2015 Old lady, I am burned out on glaze testing. This past week was a great turnaround. I made about 40 test tiles with three new glazes. All the New glazes worked great. I also found some great combinations. I have reliable receipies. I think there was some operator error. I think a lot more info could be given with glaze receipies. I like a dark red clay. Most glazes look terrible on it even if they look good on white or tan clay. The red clay has a lot of iron in it. Many glazes won't work with it. Sorry Tom, I fire cone 5/6 electric. The black iron oxide does look burnt out. So what do the Japanese potters put on their wood fire pots? At least part of the firing is in oxidation. Two things. 1. You could coat your pots in a white slip, adjusted for cone 6 applied at leather hard. Then you have the dark body on the bottom and lighter colours over the slip. Glazes always show better colour on a lighter surface. Just like painting on white paper vs. brown. 2.The Chinese wood-fire potters used iron decoration. This is where it came from. I am not a cone 6 guy, so don't have the answer for iron at that temp. TJR. Link to comment Share on other sites More sharing options...
TJR Posted May 8, 2015 Report Share Posted May 8, 2015 So what do the Japanese potters put on their wood fire pots? At least part of the firing is in oxidation. A part of any natural fuel kiln firing is in oxidation, even wood. A natural fuel firing may include a body reduction phases (typically early on, around cone 12 to 10 and a glaze reduction phase (typically at near the end of the firing). At the end of the firing, you close off the fuel ports and the damper . . . basically, preventing air to enter the kiln while it cools. At least that is my understanding. They use red iron oxide, other oxides, etc. The challenge is finding glazes that work with the oxides. Red iron oxide, in addition to being a colorant, is also a flux that can cause an otherwise stiff, non-moving glaze to become runny. It is how the red iron oxide interacts with the glaze ingredients. You mean cone 012 and cone 010. TJR. Link to comment Share on other sites More sharing options...
bciskepottery Posted May 8, 2015 Report Share Posted May 8, 2015 TJR -- I most certainly do, 010 and 012. My bad. Link to comment Share on other sites More sharing options...
TJR Posted May 9, 2015 Report Share Posted May 9, 2015 TJR -- I most certainly do, 010 and 012. My bad. No worries. T. Link to comment Share on other sites More sharing options...
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