chuka_lis

To clean brushes after painting over-glaze paints use 91% isopropyl alcohol or denatured alcohol, mixed 50/50 with lavender oil.

You can use each alone, whatever works for you.

Also pure grain alcohol from liquor store will do the job.
For oil paints (oil based china paints are included) turpentine ( or turp's substitute Durotine) and "Liquin" Winsor & Newton work. linseed oil is used to thin the oil paint down. White spirit is good dissolving agent.
More brush cleaning tips are here

Crossposts: https://chuka-lis.livejournal.com/157061.html

Stippling White China Paint is a product that works well for highlights. Matte paints do not create this naturally.
Stippling White are mixed in the same manner as china paint, but are more opaque when fired. Mix your product well, keeping it stiff enough to hold a peak when you pull up the palette knife from the paint. If you want it to be a little stiffer add a little tin
oxide to it....not much no more than 10%.
You can use a small stylus tool, or a large sewing needle for applying it on spots. Scoop up a small amount of paint and apply to the place. Be aware about the correct amount and position for the highlights. You can use stippling white like you do base for gold or enamel too. You just have to test it to make certain you like the results. Of course, you can stipple it

Sometimes black spots showing up on bone china pieces after firing.
Some people suggest that sanding the unglazed edges really well will open up the porcelain and let any trapped moisture out and prevent the spots.
Actually, the black spots in bone china are a result of underfiring in the manufacturing process. Sometimes spots will also occur if grease has gotten under the glaze.
A second fire can bring out even more spots.
An old China Decorator suggestion was to boil the item in baking soda and water, although a positive outcome was not guaranteed. Firing bone china at high temps (cone 8 or so) will cause the glaze to bubble and remain bumpy but is unlikely to remove the black spots under the glaze.
When in doubt about bone china, a good practice is to fire it before a first fire with paint. If it has spots, I discard and move on.

Crossposts: https://chuka-lis.livejournal.com/152202.html

Bronze green and Sap green Willowby china colors are used for Malachite.
Russian green, Dark Green and Black Green could be used too..

Crossposts: https://chuka-lis.livejournal.com/148542.html

Some glues eventually cause dark areas to show through of the mirror side.
Elmer's ( plain old white ) or Borden's is the best to glue mirrors in place such as for a hand mirror. The clear glues with the chemical odors can cause your mirror glass to crack at a later date.
Also clear caulk holds better and doesn't heat up so the mirror doesn't break.
The glue 527 works great for it as for porcelain too .

Crossposts: https://chuka-lis.livejournal.com/146478.html

Firing china paint isn't as difficult or critical as firing clay because the clay body and glaze arent really going through major physical and chemical changes..

It is easy is to use the ramp fire program and set it so that the first ramp fires as quickly as possible ( 9999 degrees/hour) and then set the end temp for whatever cone you want to fire to . ( There is also a cone chart in that same thread on the forum ... cone 017 is about 1380 F*, 015 is about 1480 F*.... Its not super critical.)
One ramp, as fast as it will fire... The small Paragon Home Artist kiln takes about 50 minutes, the large Olympic takes about 2 1/2 It is not critical to vent the kiln anymore ... unless you firing lusters or gold . Then vent it till it stops smoking...
Do make sure that the pieces aren't sitting directly on the kiln shelves. Put a stilt under them to get air flow underneath .
When you set it to fire at highest temperature, it still takes time.. The only thing that is happening is that the relays aren't turning on and off . The heat just goes straight up . (The relays just slow down the firing speed by turning the elements on and off ).

Crossposts: https://chuka-lis.livejournal.com/146429.html

Поинтсеттии , исторически произрастающие в Мексике, являются одним из символов Рождества в Америках (симолизируют звезду), наверное, потому что нарядно выглядят (контраст красного, ровозовго, белого, зеленого). ]
Ацтеки использовали это растения как жаропонижающее и для получения красного пигмента.
Для того, чтобы получить красивый насыщенный красный цвет на фарфоре, при рисовании этого цветка,
например, как тут:

хорошо использовать
use the Willoughby's reds.. or .yellow red first...Pompadour second and then darkest red the blood red.
(Indy)
Другие красные Overglaze Paints тоже работают
This group of RED colors are rich and smooth to paint with. As ALL REDS, we do recommend that you fire to Cone .014 for the first fire to soften the glaze and "sink" the color. Most of the red will fire off, but apply it again the second fire to Cone .017 and watch it shine!

And as with ALL REDs and YELLOWS, please test them together first before painting a big project. It's amazing how differently they can react with other colors, if there is gold in the kiln being fired, humidity, etc. For a Yellow/Red combination that will fire together with no color changes, see our Dresden Yellow and Dresden Red colors (use the Search Box to easily find them)

Colors: L - R: , Persian Red, , Blood Red, Dark Shadow - Portrait, Dull Red. Please see Dresden Red for a bright Red that can fire to Cone .014 and will not change when used with the Dresden Yellow. You can fire both the Dresden Red and Dresden Yellow next to each other; at the same time; to a Cone .014; and they fire beautifully.

Crossposts: https://chuka-lis.livejournal.com/145958.html

White Velvet just makes the china matt in the area where you apply the White Velvet, and stays shiny in the "un-white velveted" areas.

It is basically an underlay but it is a little more satiny looking. It is pink but fires white.

it can be used in several ways.
One is mixed with a drying waterbased medium thinned with water as a penning solution on white on black ...
Just plain.
Another is using it as an underlay with Mother of Pearl over the top for a white on white effect .

How to work with it?
Mix with a drying medium, pat it on, or sponge it evenly over the piece then after it is dry, you scratch out your designs into it (with a skewer, tooth pick , back of a brush.. whatever works., or you can use a resist under it:. the laser cuts work well ).
If you draw your design on the piece first with a Sharpie marker, you should be able to see the design through the sponged on White Velvet.
As for the laser cut resist: it could be paper ones or paper ones or the vinyl ones which are reusable (You peel them off before you fire). It could be any that you likes of different motifs: butterflies, cats, dogs, horses, fish , scrolls, things for guys, golf, music, lots of Christmas designs, great detailed leaves, borders, baby designs, etc.
Peel off the resist motifs, lay them out on the china, sponge over with the White velvet, when the White Velvet l is dry, peel off the laser cuts and then scratch out some areas a little wider..
Where you scratch to reveal the china, those places will stay shiny . The places where the powder remains will turn white matt after firing ... so then , when you apply gold, mother of pearl or luster over this on the next fire, where the gold, MOP or luster is over the matt ( white velvet) parts, it will give a silky matt finish.. and where it is over the exposed glazed parts, it will be shiny...
You can sand it if its too rough.. but its better to put it on thinner.
White Velvet must be fired cool (017 or 018) to maintain the matt effect.
After firing low ( to maintain the matt effect), cover with thin layer of MOP (mother of pearl) or LB Gold ( Liquid bright gold) or other luster ) for a shiny/matt effect, and fire again ...
A second coat of MOP works even better and will give the fired White Velvet more of a satiny appearance ( whereas mine is more matt ).
About the White velvet vs. matt white : It seems to my eye that the White Velvet is silkier looking.

thanks to PPIO folks and Marci

Crossposts: https://chuka-lis.livejournal.com/144466.html

Helpful site http://www.frogpondpottery.com/
and

how to do a good pictures of art pieces:

Photographing Arts, Crafts & Collectibles: Take Great Digital Photos for Portfolios, Documentation, or Selling on the Web (A Lark Photography Book)

The photographers are able to vary the tone and the values in the backgrounds and coming into the foreground . They're using a seamless backdrop, usually gray.
It can be anything that's not reflective or wrinkled, like fabric or formica, but most people use special photo backdrop paper. This is really heavy paper that comes in a lot of different colors on a big roll. A good photo store can sell you a chunk off a roll. If you don't wrinkle it, it will last years ( about 25 years).
To get that fade from light in the front to dark in the back, you fasten the paper at the top to a wall, and let it drape in an easy curve down to be flat on the table.
You put the object you're shooting quite a ways out from the backdrop, and set up your lights off to the sides so that the piece is in light, and the background is in shadow.

Best to use a light tent. It's fabric and folds up to store.
The light tent is to diffuse the light so that there are no harsh glare spots or shadows. By itself it will not make that graded background. That's purely a function of setup. You can do the graded background thing with or without a light tent.

You may usie variegated fabric, The other point of the seamless backdrop is that you don't see a distracting join where the vertical surface meets the horizontal one.

The object should feel like it's filling the frame without being crowded. Certainly the object should never touch the edge of the frame at any point. Not should the piece look lost and at sea in the middle of an expanse of backdrop. The answer really is not too close, not too far, just right.

Crossposts: https://chuka-lis.livejournal.com/143937.html

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

Crossposts: https://chuka-lis.livejournal.com/141442.html

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).

Crossposts: https://chuka-lis.livejournal.com/141103.html

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.

Crossposts: http://chuka-lis.livejournal.com/139186.html

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.

Crossposts: http://chuka-lis.livejournal.com/135230.html

В современном нормировании радиационных эффектов принята беспороговая концепция. Линейная гипотеза исходит из возможности экстраполяции воздействия высоких уровней облучения и больших мощностей доз на более малые.

Естественное "фоновое" облучение (космическое излуечние, природные радионуклиды) -примерно 2.4 милизиверта в год в среднем на человека, но может достигать и 260 милизивертов (влияют высота над уровнем моря, радон, урановые залежи, итп).

Величина приемлемого радиационного риска составляет статистически 50 смертельных случаев на 1 млн. человек, каждый из которых получил в течение жизни (70 лет) 0,01 Зв. Это означает дополнительную (ко всем другим причинам) гибель на протяжении 70 лет (при облучении в 0,01 Зв) одного человека из 20 000 (1000000 : 50 = 20000). Из общей радиационной гибели на долю гибели от раковых заболеваний при этом приходится две трети смертей, а на гибель от вызванных радиацией генетических повреждений одна треть.

Радиоактивность тела человека примерно 1 микрокюри, или 3.7 беккереля, благодаря находящемуся в нас изотопу Калия 40.

Атомный взры в Хиросиме был источником 8 йотта беккрелеей (йотта- 10 в 24 степени)

С продуктами питания (изотопы) человек получает облучения примерно 0.4 милизиверта в год.

Бразильские орехи излучают 444 беккереля на кг.

Банан среднего размера излучает около 14 беккерелей (за счет изотопов калия).

1 кг почвы "в норме" излучает радиацию в 370 беккерель (100-700Бк)

Излучение в 1000 беккерель на кг по Цезию принято для рыбы как норма в Евросоюзе.

Текущая информация по радиоактивному фону в США- здесь: Nuclear Emergency Tracking Center

В США допустимые уровни загрязнения пищевых продуктов радионуклидами -

по стронцию - 160 беккерель на кг

по йоду131 - 170 беккерель на кг,

по цезиям -1200 беккерель на кг,

по плутонию- не более 2 беккерель на кг.
http://www.fda.gov/ICECI/ComplianceM...nual/ucm074576

В Европе по всем радионуклидам (суммарно, вместе), кроме плутония, уровень радиации не должен превышать 1000 беккерель на кг пищевого продукта. Для плутония239- не более 10 беккерель на кг продукта. http://www.fao.org/docrep/u5900t/u5900t08.htm

100 микрозиверт облучения увеличивают риск смерти (вероятность) на 1 миллионную.

В Евросоюзе атомные электростанции есть в 14 странах из 27, в общей сложности это 145 реакторов, 134 из них - действующие.

В 1990 году за час нахождения на берегу озера Карачай можно было получить облучение в 600 рентген. В течение десятилетий ядерщики на "Маяке" сливали радиоактивные отходы в реку. Они представляли собой коктейль из радиоактивных элементов, включая стронций-90 и цезий-137, период полураспада которых составляет 30 лет. После взрыва системы хранения радиоактивных отходов в 1957 году власти решили перенаправить их слив в озеро Карачай. Это работало в течение 10 лет, пока в Челябинске не наступила сильная засуха. Озеро постепенно начало высыхать, открывая радиоактивный осадок на его дне, который разнесся пылевыми бурями на огромные расстояния.

По рекомендациям Международной комиссии по радиационной защите (МКРЗ) в России для персонала АЭС допустимый предел годовой эффективной дозы для мужчин составляет 20 мЗв, для населения - 1 мЗв (НРБ-99).

Период полураспада йода-131- 8 дней, стронция-90 -29 лет, цезия-137 около 30 лет. А плутония-239 - около 24 000 лет.

Crossposts: http://chuka-lis.livejournal.com/133798.html

В США нормальной считается доза излучения в 620 mrems или в 6.2 милизиверта в год (примерно 50 милирентген). т е выше чем в россии и европе (как и многие другие нормативы). посчитать свою дозу "от окружающей среды" можно тут ANS / Public Information / Resources / Radiation Dose Chart

The average radiation one naturally receives from food, radon in the air, water and space over a year is 2.4 millisieverts worldwide and 1.5 millisieverts in Japan. Steps to avoid exposure to fallout | The Japan Times Online

онлайн можно подсчитывать тут: Radiation Online Converter

https://apps.who.int/fsf/Codex/Guide...desinFoods.pdf
полезный документ для того чтобы ознакомится с принципами того, на что, как допустимое, опираются при оценке загрязненности продуктов радионуклидами.

здесь можно зрительно посмотреть на "обычные" дозы радиации, которые которые может получать человек.
http://xkcd.com/radiation/

для общих представлений:

доза в 500 рентген на протяжении 5 часов для человека является смертельной.

"обычная" экспозиция радиационным излучением составляет примерно 200 милирентген в год или 23 микрорентгена в час

дозы до 100 рем считаются субклиническими- вызывают только изменения в крови.
от 100 до 200 рем- являются причинами заболеваний, преимущественно не летальных, дозы более 1000 рем- фатальны.

человек, получивший дозу в 5 грей на все тело (энергия,эквивалентная 375 джоулей для 70 кг человека, и содержащаяся примерно в 20 г сахара (!)) умирает за 2 недели.
места на теле, получившие локально дозу примерно в 1 грей, лысеют.
Лечебные дозы для эпителиом составляют 60-80 грей, для лимфом- 20-40 грей. пациенты, получившие примерно 45 грей (разбитая доза) или 10 грей (за 1 раз), теряют волосы надолго. превентивные дозы для локальных опухолей это обычно 40-65 грей в сумме, 1.8-2 грея каждая.

Single dose examples
The average radiation dose from an abdominal X-ray is 1.4 mGy
that from an abdominal CT scan is 8.0 mGy
that from a pelvic CT scan is 25 mGy,
and that from a selective CT scan of the abdomen and the pelvis is 30 mGy.

Eating one banana: 0.0001 mSv
Sleeping next to a human for 8 hours: 0.0005 mSv
Dental radiography: 0.005 mSv
Average dose to people living within 16 km of Three Mile Island accident: 0.08 mSv; maximum dose: 1 mSv
Mammogram: 3 mSv
Brain CT scan: 0.8–5 mSv
Chest CT scan: 6–18 mSv
Gastrointestinal series X-ray investigation: 14 mSv
International Commission on Radiological Protection recommended limit for volunteers averting major nuclear escalation: 500 mSv
International Commission on Radiological Protection recommended limit for volunteers rescuing lives or preventing serious injuries: 1000 mSv

Сразу после взрыва на Чернобыльском 4 реакторе регистрировались уровни радиации 10-300 зивертов в час.

Crossposts: http://chuka-lis.livejournal.com/133442.html

Единицы измерения -это рентген, зиверт, грей, рад, рем (бэр), еще есть, конечно, беккерели и кюри, которые используют для измерения радиоактивности материалов, веществ, сред.

Roentgen (unit) - Wikipedia, the free encyclopedia

Sievert - Wikipedia, the free encyclopedia

Roentgen equivalent man - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Gray_(unit)

http://en.wikipedia.org/wiki/Rad_(unit)

http://en.wikipedia.org/wiki/Becquerel

http://en.wikipedia.org/wiki/Curie

вкратце-

Кюри, беккерели- единицы измерения радиоактивности материала, вещества, имеют отношение к ядерным распадам в секунду. 1 Ci (кюри) = 3.7×1010 распадов в секунду, беккерель- 1 распад в секунду, таким образом 1 Ci = 3.7×1010 Bq (беккерель)

рентген -единица измерения ионизирующего излучения, количество радиации, образовывающее 2.08×109 пар ионов

грей, рад, -единицы измерения абсорбированной дозы, или дозы ионизирующего излучения (материала, среды) (сколько-то джоулей энергии, полученные килограммом материи)

рем (бэр), зиверт - единицы измерения эквивалентной полученной дозы (дозы облучения, полученной объектом: тут учитываются биологичсекие особенности тканей и типов облучения и излучения)

конвертируются таким образом:

1 rem = 0.01 Sv = 10 mSv
1 mrem = 0.00001 Sv = 0.01 mSv = 10 μSv
1 Sv = 100 rem = 100,000 mrem (or millirem)
1 mSv = 100 mrem = 0.1 rem
1 μSv = 0.1 mrem
1 R (рентген) = 1 rad = 1 rem - для гамма излучения
1 Грей = 1 Зиверт - для гамма и Х-рей излучения

Radiation Measurements

Radioactivity Absorbed Dose Dose Equivalent Exposure
Common Units curie (Ci) rad rem roentgen (R)
SI Units becquerel (Bq) gray (Gy) sievert (Sv) coulomb/kilogram (C/kg)
Measuring Radiation

Crossposts: http://chuka-lis.livejournal.com/133210.html

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

Crossposts: http://chuka-lis.livejournal.com/131907.html

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

Crossposts: http://chuka-lis.livejournal.com/131318.html

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.

Crossposts: http://chuka-lis.livejournal.com/131041.html

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).

Crossposts: http://chuka-lis.livejournal.com/130244.html

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.

Crossposts: http://chuka-lis.livejournal.com/129048.html

Profile

chuka_lis

Navigation

June 2025

M	T	W	T	F	S	S
						1
2	3	4	5	6	7	8
9	10	11	12	13	14	15
16	17	18	19	20	21	22
23	24	25	26	27	28	29
30

Syndicate

Page Summary

Style Credit

Base style: Heads Up by momijizuakmori
Theme: A Brighter View by zaluzianskya and skylark_photos

Expand Cut Tags

No cut tags

Page generated Jun. 19th, 2025 05:59 pm

Entries tagged with для памяти

Brush cleaning

Spots on china, stippling white

China colors for Malachite

Hand mirrors glue

Firing china

Red for pointsettas

White Velvet

Pottery

Petit point

China, small things

China brush cleaning

Zentangle on china

Радиация- любопытные факты

Радиация- дозы

Радиация- единицы измерения

Black light and lusters

Enamel

MOP

dispersing fluid for luster

растворитель