The following list gives an overview on the
general application of glazes. There are times when only two coats may
be required, some times four coats, applied to bisque or greenware.
Always read the jar label for the proper application instructions. There
are times when a specific technique may require you to deviate from
instructions on the jar. At those times, follow the technique carefully
and apply those instructions only at that specified time.
- Are generally applied to fired shelf
cone 04 bisque. Always read the label for possible exceptions.
- Wipe the piece down with a damp sponge
before glazing.
- Use either an Oval Mop or Flat Glaze
brush to apply glazes and check individual glaze categories for any
exceptions.
- Shake jar and/or stir well before
using. The consistency should be like melted ice cream.
- Apply 3 flowing coats unless noted
differently on the jar. Clear glazes require only 2 coats. Bright
reds usually require 4 coats. Check individual glaze categories for
exceptions.
- Fire to shelf cone 06 unless noted
differently on the jar label. Clean brushes with warm water and
brush cleaner.
BRUSHING: Fired color is best applied with
a natural hair brush. Use an oval mop, flat glaze or pointed round
brush. There are synthetic hair brushes that can also be used to apply
many of these same products. A wide selection of brushes is available
and all have been designed for specific needs and products. Some brushes
can be used in a variety of products. Always clean brushes well between
uses.
For general application, we recommend that
you use an oval mop to apply opaque underglazes and glazes. Oval mops
come in several sizes. A second choice would be a flat glaze brush. A
flat glaze brush is helpful when brushing glaze out of the embossed
areas on a piece. A flat glaze brush is preferred when applying
non-toxic glazes to highly detailed or embossed pieces. The size of the
brush should be as large as possible for the area being covered. For
smaller areas, a pointed round brush can be used.
Color
should not be used directly out of the jar to avoid possible
contamination of the remaining color. It should be placed onto a tile or
in a shallow dish. Do not use wax-coated paper cups to hold color; the
wax could prevent the color from properly adhering.
Moisten
the brush with water and remove the excess. Dip the brush into the color
up to the ferrule (metal part of the brush.) Tap the brush on the jar
rim or tile to remove drips. The brush should not be dragged along the
jar rim to remove color from the bristles. A full load of color should
remain in the hairs of the brush.
Apply
color in a flowing motion. Do not "scrub" color onto the ware.
The brush should never drag because of a lack of color. Most likely a
3-coat application will be needed. Not all coats are equal. If bisque is
visible underneath the first dried coat, then apply an extra coat for
proper coverage. The thickness of the three coats combined should be
about the same as the thickness of a postcard. Some colors require more
or less than three coats of product. Always check the jar label for
specific directions.
Apply each coat
in a different direction. Crosshatch each successive coat applying at a
90° angle to the previous one. This will give more even coverage. Allow
each coat to dry a few minutes until the shiny look is gone.
ROLLING
A GLAZE: Pouring or rolling a glaze to the inside surface of a
container that is difficult to reach is a simple solution to glazing
with a brush. Care should be taken when using this method of glazing
because problems can occur. The inside of the piece must be free of any
debris and clay dust. Any clay particles left inside may cause crawling.
Excessive glaze in or on the bottom of the piece may cause it to split,
pit or crawl. These problems can be overcome by making sure the excess
glaze is removed by inverting the piece as the glaze dries.
Glaze
Butting: Refers to applying glazes side by side so
that colors meet but do not blend. To butt glazes, avoid overlapping
them. Use a pencil to draw a line on the bisque to determine the precise
placement of the glazes. The mark will burn away during firing. When
butting, the brush is used like a push broom at a 45° angle to shove
the small ridge of glaze up to, but not over, the pencil line as the
first coat is applied. This small roll of glaze should give sufficient
coverage to the perimeter of the area so that special care with
successive coats is not necessary; they can be applied in the usual
manner.
On a vertical piece,
you can cut through the glaze while it is still wet and use a grease
pencil (red marking pencil) to follow the original pencil mark. The
grease in the pencil will provide enough of a barrier to keep the glazes
in place.
Be aware that some
colors are sensitive to others. Some white or clear glazes placed next
to glazes high in copper compounds may discolor. Metallic blacks and
greens may cause a fuming, shadowing or flashing onto the lighter color.
This is caused by a chemical reaction between the two glazes during
firing.
Glaze
Combinations: Offers the hobbyist an expanded dimension to
their decorating possibilities. There are "soft" glazes that
move more during the firing process and these glazes have more tolerance
against pitting, cracking or blistering. Using combinations of two types
of glaze that react chemically to each other can give many exciting and
unexpected results.
When two or
more glazes that move or "boil" in the firing are used, one
over another, a blending of the two colors results. The glaze next
to the bisque will always dominate the piece because it has a stronger
footing or hold on the bisque. Except for the Series 2000 or other
non-toxic glazes, the glossier the glaze is, the more it moves in the
firing. Heavier applications of these glossier glazes will produce more
dramatic intermingling of the colors.
Not
all glazes used in combination need to be so free moving. Variations to
the mix, for example, using a Series 2000 Matte glaze with a moving
glaze, can give fascinating results. A non-moving glaze will retard the
movement of a more active glaze. An application of 3 coats of a moving
glaze applied first on the bisque, then 2 coats of a non-moving glaze on
top of that will result in the breakup of the top glaze into little
islands of the matte color.
Sponging:
Different types of sponges can be used in decorating a piece. Each
offers a distinct look. More than likely, a silk decorating sponge will
be used for sponging most colors. It gives the best application for most
glazes when an even coverage is needed. A sea wool type sponge produces
a bumpy, mottled look or may be used to veil the color onto the ware.
Once the type of sponge is selected and the color has been chosen,
follow these application instructions:
- Dampen the sponge and remove excess
water onto a paper towel
- Pour some of the color onto a tile
- Pounce the sponge into the color and
apply to the piece using the same pouncing (up & down) motion.
Do not apply so much pressure to the sponge that the color runs out
of the sponge and down the piece.
- Allow the wet look to disappear before
adding additional coats.
- For solid coverage, more than three
coats may be needed when using a sponge
- As a general rule, 4-5 coats is
required to achieve the same coverage as when you apply color using
a brush.
Spattering:
When spattering, a stiff bristled brush is loaded with color and
then the handle of another brush is dragged over the bristles of the
brush (toward the user), causing the color to spatter onto the ware in a
speckled effect. Most any product can be applied this way. The specks of
color can travel long distances, so cover or remove any other pieces
from the decorating area.
Banding:
Colored bands are created on round objects using a decorator's wheel. A
decorator's wheel is a type of turntable that allows the ware to rotate
evenly and freely while decorating. Some colors may require thinning to
achieve proper color distribution or to create a specific effect.
- Center the piece on the wheel
- If possible, place something heavy
inside the ware to weight the piece on the wheel, like a bag of
beans or rice.
- Load the brush with color
- While the wheel is spinning, the brush
is brought to the surface of the ware. The piece continues to rotate
while the brush is on the ware.
- Once color has been applied, the brush
is lifted off the ware while the piece continues to rotate.
- Many bands of color can be applied and
blended back onto one another for a variety of effects.
