Can you underglaze greenware

Brushing glazes on can cause this to be not as crisp as you might like. Purpleglaaze , if you are using a brushing glaze you can lightly sponge on a thinned down coat of glaze, let that dry thoroughly then brush on the remaining coats. Other thing about glazing over unfired underglaze ug is the ug contains gums that can hinder the amount of glaze taken up by the bisque.

When you bisque fire ugs the gums burn out so the bisque takes on the glaze easier. There are ugs that can flux enough at bisque 04 that also can hinder the glaze application. Like its always said, test, test, test. Purpleglaaze I have spent a good bit of time covering underglazes and as above they usually affect the porosity for all the reasons mentioned as well as they just plain old fill in the pours of the body. Whenever spraying these, even after bisque the areas of heavy underglaze often require a thin even coat and extra drying time compared to the rest of the claybody.

If the glaze allows, I will use a heat gun set on low to dry those areas in between coats. All inside a paint spray booth with proper PPE of course. My question is a little bit different. I underglazed a greenware piece.

The color looked fine after bisque firing but got really faded after cone 5 firing. So I was wondering, since there is no glaze on top of the underglaze, if it was possible to re-underglaze the fired piece and then refire it. Testing is the only way to know how well this underglaze will perform. Another possible fix would be to use lowfire products like stroke and coat and fire down to Even China paints provide some opportunity but they usually melt into a glazed surface..

It may give you an idea of something to try. Thanks all for the helpful tips here. A few years ago, I started reviving an interest in clay sculpting helped by my sons' middle school art teacher. Using Amaco velvet underglazes and glazes, I'm now experimenting with applying them on greenware and had mixed results. A couple of pieces had quite a lot of flaking e.

Others done since March break e. I haven't tried applying the colors to leather hard clay yet, so will do that next. What are good ways to avoid or minimize pinholing or flaking when painting greenware? I usually apply 2 coats each of underglaze and clear glaze. Would it be better to use just 1 coat of each or apply it very thinly? The safest method seems to be to use just underglazes, then apply glaze after touching up for a second firing; but this doesn't allow nice blending of colors.

Though I've been advised to bisque fire before applying any colors, I prefer working with greenware and underglazes because it's more efficient and resulting colors seem beautifully consistent. With pieces that were baked first before a colored glaze, the result was a mottled color lighter at high points, darker at grooves and lower edges. But with even a green glaze on greenware e. Also, can areas with flaking or pinholing be fixed somewhat by adding underglaze and glaze again for a 2nd firing, or will new colors on a glaze flake off and the 2nd firing damage the colors that came out well the first time?

I'm about to try this. All the clay and glazes are for low firing. You can post now and register later. Recover password. Remembered your password? Back to login. Already have an account? Login here. We get a lot of questions about underglazes. I believe some confusion is caused by the fact that underglazes have changed throughout the years. The original underglazes were quite similar to colored slips, made by adding pigments such as stains to watered down clay.

Underglazes tend to be highly pigmented for strong color. They are desired for painting by many ceramists because they stay where you put them.

In other words, with underglaze the lines won't "flow" into each other like many glazes. The original underglazes fire very dry, so they are most often covered with a clear glaze. The underglazes are applied to wet clay or greenware. I clean up my throwing and trimming tools and make sure my glaze bottles are filled and fresh, and my brushes are in good shape for applying underglaze on greenware. All of the decoration process is completed using a slip trailer and various brushes.

I do my designing at the wheel so it feels like a natural extension of the throwing process. I choose the colors spontaneously, execute the design by feel, and explore the interplay of line, color, and symbol. I do all of this work starting on leather-hard clay as soon as the pots are trimmed. Sometimes the decoration work is completed on bone dry clay since the pots dry as I work on them.

The clay absorbs the underglaze quickly, making mistakes hard to correct, so if a drip occurs or a line is misplaced, I just go with it and integrate it into the overall design.

Begin by centering a bowl on a inch sticky bat from Ci Products that is on the pottery wheel and start the decoration process by dividing up the space with two or three different colors of banding lines while the wheel is spinning 1.

After the initial banding lines are in place, start to divide and break up the vertical space 2 and then subdivide the vertical spaces further by adding target dots. Next, draw circular lines in pencil to mark the application site of the underglaze. Apply the glaze over your drawing, while activating the wheel, and be careful not to make a mistake, as the virgin clay will readily absorb the underglaze making it next to impossible to correct inconsistencies.

Applying the underglaze to greenware allows you to see the close-to-finished design, making it easy to locate areas that need more attention or additions. Also, you can apply a far wider range of underglaze colors to greenware than you can to bisque ware. The benefit of applying underglaze to a bisqued piece is that it will not harm the clay or make it dissolve out from under your design.

You can also integrate tools into the under-glazing process. For example, using underglaze pencils, crayons , or pens will not dent, incise, or harm the clay surface and will lend a more precise design. To begin your underglaze, start by grasping the bisqued piece with a clean cloth. Next, apply the color to make your design as you would on a watercolor painting. Work in layers to make sure the end product is vibrantly colored. You may need anywhere from two to six coats of glaze to yield the desired result.

Once your painting is complete and the underglaze is dry, brush on a clear topcoat and fire. Commercial underglazes come in almost every color of the rainbow, as they are made up of clay slips with different colorants inside. And there are many ways to apply them, too, each lending a different shade outcome.

Building up the underglaze in layers and drying between each application will make the color deeper and brighter.