chuka_lis: (Default)
For Zentangle  art/ calligraphy on china regular Hunt's Artists dip pens 102 or 107 could be used.
  The using a drying pen oil mix works better as you can gently scrape off the dried areas that you messed up on before firing.
But it is better to use either Wilma Manhardt's water based pen medium, or Kathy's pen oil ( pre-mixed ) or even own water based sugar syrup medium (equal parts of dry powder paint and powdered sugar mixed with water to ink consistency, or leftover of regular 7-up that is  mixed with dry powder paint). They all work, the water based dry faster on the working tile so artist have to watch this mixture and prevent it get to thick.
chuka_lis: (Default)
it is helpful to use of a black light to show where you've painted Liquid Bright Gold (LB Gold).
You can usually find a black light at a pet store that sells supplies for reptiles.
The black light causes Halo Luster to become florescent. That is, causing the luster to glow. You can see exactly what you've done with the luster and make additions or corrections using the black light to show you the way. Also the black light could be used sometimes to check whether or not the grounding oil is nice and even while pouncing it with a silk pad. Almost anything with fat oil in it with glow a soft yellow-green. Also some of the mineral oxides we use for paint, will glow under black light after grinding the color.
It isn't very useful for normal painting, because it alters the colors significantly.
Полезная информация по золоту   и золотому блеску  http://www.porcelainpainters.com/gold.html


Enamel

Jun. 8th, 2017 12:35 pm
chuka_lis: (Default)
After firing enamel on china it may blister up. 
If it happens, the bubbling was likely too much oil.  It could be fixed by putting new layer of enamel over  it, but I would suggest using base for gold or non ping  since enamel does have a tenancy to pop off.
 Mix whatever you decide to use with as little oil as possible.
Just enough so that it barely holds together  (kinda like making a pie crust dough) . Then knead it together until its like putty. Then slowly add a touch of brush cleaner to it  until it is thin enough to work with . You should be able to thin it down 3 to 5 times before you need to add more paste.  Keep the mixed paste in a small jar and just pull out a little bit at a time when needed

MOP

Jun. 6th, 2017 02:44 pm
chuka_lis: (Default)
Overglazes, Lusters and Mother of Pearl. Metallic Overglazes for the brilliance of gold and luster of a rainbow.

When  put on MOP on china  don't paint it on in lines.
If you apply it in straight lines, it will fire in straight lines ...( Actually , the straight lines can be effective on things like snowbanks, etc ... and Kerri Manuel recently had the coolest piece on Facebook qwhere she applied the MOP in deliberate streaks on the rim of a plate.. like rays of the sun ... It was really neat looking).

Swirl the MOP on the china piece with a finger ( could be with  finger cot) or q- tip  that brings out more of the colors. Do not  use a brush.  But, you can apply it with a brush in swirls too.. but its the swirly pattern application  that will give you the nice broken up pattern that is so pretty with mother of pearl ...
 
Also, the MOP should be thin,  watery. Too thick MOP layer application will blister and burn off .. ( That can be reapplied ). Luster does come off fairly easily .
 
If MOP after firing came out of the kiln streaky, etc,  there nothing could be done to get over it. You will have to take it down and reapply the luster. Unlikely that you'll have a lot of luck getting a nice pattern by adding another coat on top.

Why it happened?
Either it was still too wet when you fired it....most lusters you can fire wet and it doesn't hurt but MOP is a temperamental lady.  One time you fire her wet and she is fine, the next time and she looks smokey, streaked or opaque.
 
The other thing is a two prong....you fired too fast and/or you didn't let the fumes/smoke out of the kiln when you fired.  The pearlized lusters need to have all the smell fired off before you close the kiln lid and/or peep holes.  Good thing to  leave the peep holes open through the entire firing.
 
To fire MOP, put a wee piece of broken china or a tile with a smudge of lbg or blood red on it in with the luster.  Both enhances the colors of the pearls.  Obviously the gold will because there is gold in the MOP...rainbow and so on.  Not certain what is in the blood red....it is suppose to be an iron colour, but it works.


chuka_lis: (Default)
Turp, alcohol, mineral spirits, lavender oil can all be used to disperse lusters.. up to a point.. Once the lusters start to dry, the only thing
that will reliquify the lusters and make them fluid again is dispersing fluid... so if you use any of the other things mentioned above, you have
to work quickly because lusters dry quickly.

Getting сhina  unglued of a frame, etc depends on what glue was used. Start by placing glued items into hot water and wait until cool
enough to  handle. Or put item in cold water  in a pot, slowly bring the water to a boil on the stove and use long  tweezers  to gently test if glue is softening. Usually that will easily soften the glue.  If it is  epoxy,  the sustained oven heat can work (250F). 
chuka_lis: (Default)
Signa-Turp is a great alternative to turpentine.  It has no odor.  I use it as a brush cleaner, but I also use it to make my painting medium.  If anyone is interested the formula is 1 quart of non-detergent 30 weight motor oil (available at Walmart), 2 oz. of Balsam of Copaiba and Icup (8 oz.) Signa-Turp (available at Dick Blick Art Supplies, either in oneof their stores or online).  This is a completely open medium, that neverdries  until fired.  You can even set aside a piece you are working on, and go back to it a week later and continue, without it taking off what you have
 painted.

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