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Under Glazes 2012

Under Glazes 2012

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Published by Stefan Van Cleemput

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Published by: Stefan Van Cleemput on Jul 06, 2012
Copyright:Attribution Non-commercial

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04/18/2014

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www.ceramicartsdaily.org | Copyright © 2010, Ceramic Publications Company | Underglaze Users Guide |i
 
ceramicarts
dail
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underglaze
users guide
how to use underglazesto add color and graphic interestto your pottery projects
This special report is brought to you with the support of C and R Ceramics
 
www.ceramicartsdaily.org | Copyright © 2010, Ceramic Publications Company | Underglaze Users Guide |1
Laura Kukkee: Using Underglazes forSlip Trailing and Appliqué Techniques
by Anderson Turner
There is no shortage o application techniques using ceramic underglazes. LauraKukkee creates her decoration with underglazes on newspaper then transers itto a reshly rolled clay slab. She builds up layers o dierenct colored slips andunderglaze decoration on newsprint to create a very thin slab. Then she cuts theslab into pieces and uses an appliqué technique to apply the decorated pieces topots. She also demonstrates silk screened and inlaid appliqué.
How to Make Homemade Underglazes
by Holly Goring
Whether you want to make your own underglazes or use commercially preparedunderglazes, this article will provide a valuable understanding o what underglazesare made o and how they behave. Regardless o which way you want to go withunderglazes, knowing how they are made will help you know how to use themmore eectively—and that means better chances or success in the studio.
9 Artists Using Colorful Underglazes
by David Gamble
With so many ways to use underglazes, it opens up so many opportunities. Justtake a look at the eects Jim Kemp gets by spraying vivid colors on his teapots orhow David Gamble expertly obtains a sketchbook eel with thinned out underglazewashes. Debra Fritts applies layers o underglazes and removes them to achieveher stunning patinas and Rimas VisGardas maximizes the underglaze’s ability toprovide bold illustrations. These artists and fve more explore many possibilitiesyou can delve into to add lie and vibrancy to your work.
Underglaze Users Guide
How to Use Ceramic Underglazesto Add Color and Graphic Interest in Your Pottery Projects
Underglazes are basically clay-based materials with ceramic stains and metallic oxides added to create a ull spectrumo color in your work. They’re the astest, easiest, and most dependable way or you to add pizzazz to your pottery orsculptures or just an accent or an entire surace treatment. Like many other art materials, underglazes come in a widevariety o orms—liquid, dry, chalks, pens, and pencils—so no matter what your background, a ceramic surace awaitsyour colorul treatment.
 
www.ceramicartsdaily.org | Copyright © 2010, Ceramic Publications Company | Underglaze Users Guide |2
by Anderson Turner
Laura KukkeeDemonstrates How toUse Underglazes
For Slip Trailing and Silk Screening Appliqu
é
I
t is oten taught that artists muststrive to be wholly original. Wemust envision something greatand new and then apply it toour art, thus astounding all who hap-pen by the work we’ve made. This isa tall order to say the least. Many agreat idea has allen by the way sidebecause the artist is unsure o how toexecute the desired result. Oten, it isthe subtle change in a technique thatcan lead to impressive results. Oneexample o that type o change is inthe work o artist Laura Kukkee.Laura, a native o Toronto,Canada, did her undergraduatestudies with Bruce Cochrane at TheSheridan School o Crats and Designin Oakville, Ontario and developedthis technique in the crat studios atHarbour Front Centre in Toronto.Utilizing slips and underglazes in thedecoration o clay has been happen-ing or thousands o years. From theAncient Greeks and Chinese to the17th-century country English potter,the use o colored slip has been animportant part o the decorative ar-senal o nearly every clay artist.Laura is currently working withideas surrounding the notion o aragment. “This ragment is in theorm o an image or a pattern whichis divorced rom its original mean-ing. By pulling ragments outsideo their traditional contexts andrestructuring the way in which theyare presented, meanings become
Untitled, 23 in. (58 cm) in diameter, monoprinted (paint, slip trail,silk screen) slips on sot slabs, glazes, and sand then multifred.

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