chuka_lis: (Default)
This is the way  to do petit point by Alice Wofford.
It is a truly beautiful technique but has somewhat gone out of style.
1. Pick a smooth piece of china. Box tops, plaques and large jewelry pieces work the best.  Anything with a dip or embossing will not work well.
2. Cover the china with nylon net (very fine net works the best) or underlay or vellum  I think they call it bridal illusion. Pull the net tightly over your piece and secure tightly. I twist the net on the back side of the china and use either a rubber band or a needle and thread and secure it so it doesn't slip. I also wrap the thread around the net several times to be sure it won't slip. The netting making the pattern
3.  Using any size deerfoot stippler brush cover the net with paint. Use white matt paint mixed with water based medium and thinned just enough that you can pounce it with a sponge without leaving an orange peal skin, then cover with the stippler cover the
net. A short bristled brush works best if you don't have a deerfoot stippler. Apply the paint thinly. Let dry 15 minutes. Test to see if set. (
I like to have a test piece so I don't mess up the piece I'm working on) If set, remove the net, carefully so as not to disturb the paint, you should be able to start at one corner and just lift the net up off your piece. If paint comes off, you have applied it too thick, wipe off or rinse off under water and start again. Be sure your net is good and dry if you start over. The paint should look even when the net is removed. Do not touch the paint with your fingers as the moisture in your hands will remove the paint.
4. Fire at 017.
5. After the piece is cool, lightly sand your piece and  use matt paints for a very dull finish or use regular china paints for some shine to the piece.
6. Fire at 018. to be sure to get the dull finish.
You can also use Vellum, but most people don't have that but do have white matt so use that.  And you can use your regular painting medium but it takes forever to dry.... unless you are using a closed medium... so it messes up much easier.
I recommended using a stippler because the netting will cut the hair of a good brush...why ruin a good one?  And you leave more of a line if you "paint" the matt on instead of stipple it.  You can pounce it on with the sponge, but it is a little harder to make certain it is smooth this way
with the netting.
For my personal preference I like to use my regular paint over the matt for contrast.  But that is my preference.  Use what you like best
chuka_lis: (Default)
English Orange color is good  for pumpkins and just about everything else orange. It's a good color that can be fire hot.
Also you may try a light yellow-orange color mixed with a tad of pure mid-red ....about the amount of red that will almost stick to one hair on a brush. Add more red until you get what you like.......not orange red or purplish red. You can also fire your yellow-orange color then apply thin washes of the red.  Most of us have tried and failed......or have repeated applications of mixes to get a nice color.

Color coalport is a very light mild green or there is a  coalport blue.

The  Forget me not brush also called a berry brush - it is basically a pointed short round brush

In the box are some paints from W.A. Maurer of Council Bluffs and some of Fry's Medium.  These supplies are from 1925 and the medium is still liquid and not thickened...which is amazing...

Barbara Ramsey-Snow's book "All About Peonies"

The round blue brush holder (10 inches around and 11 inches high. It has a blue screw on lid with a cord for holding. When opened there is a round knob attached to another cylinder half the length of the outside container. It can be pulled out and set on a table. It holds lots of brushes standing up) is convenient,  but the _triangular chip holders_ like Toastidos or other chips come in and they are not rough around the edges. They have a small plastic top but it work well. Some of  students that carry their brushes back and forth use a hot ice pick to make holes in the sides of the container and run small ropes through them for a handle.  They hold just as much and are just as durable. Also try some of the decorative painting suppliers ( Michaels. Hobby Lobby or JoAnne's).

chuka_lis: (Default)
Better to use Сlean Strip odorless Mineral Spirits (selled by Walmart).
Do NOT want to use any milky looking orderless mineral spirits.  It will gum up brushes terribly.  You want nothing but the blue/gold label can or plastic bottle with blue writing that says Clean Strip Oderless Mineral Spirits, and it is a clear liquid. The one with the green label is NOT the one to use.  You could mix half and half with 91% alcohol and us it for years.  Brushes all look like new  even you brush everyday.
It is great for wipe  outs using a dry brush too.
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


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


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 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 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


chuka_lis: (Default)

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