b-mix clay body with linseed oil and black mason stain transfer, glazed with “angel spit”
It’s always fun when a glaze firing is done. Today I got to the studio to find the pieces that had the linseed oil transfers had been fired. The studio has a glaze called angel spit which leaves a slight blueish hint, and the clay body has a warm finish so I was very happy with the test of how the transfer would hold up in a high fire. I think it looks pretty good and I am willing to try this on a finished piece, once I make something to try it on.
This sample (above) was also the same combination with a more complex transfer design. If you are interested in seeing how it’s done, here is the link again to the video by Kristina Bogdanov.
b-mix clay body with mason stain and gerstley borate transfer, bisque fired
Last week I tried another transfer method. It was much easier to do than the litho one and I am happy to say that it held up in the bisque firing. I was a bit confused as to the method and wrote to Erin Furimsky for the formula, she was very helpful. Use 50/50 ratio of stain to gerstley borate and add water. In this method, I found the clay should be a little more moist than dry, so I used slabs that were rolled out and wrapped from the week before and they seemed to absorb the image well. Here is the video from Erin Furimsky.
To do these transfers, you make a “paint” with the stain and gerstley, paint it onto a glazed ceramic tile (store bought), let it dry, place a piece of paper on the painted tile, and draw an image on the back of the paper, pressing firmly. When you remove the paper, you have the image ready to transfer onto the moist clay. It was sort of a reverse carbon paper effect.
I’ll let you know how the glazed pieces come out the next time a glaze kiln is fired.