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These are the user uploaded subtitles that are being translated: 1 00:00:04,133 --> 00:00:05,966 well hello and welcome everybody 2 00:00:06,400 --> 00:00:08,566 um I'm Jilly Hoyt Byram 3 00:00:08,566 --> 00:00:12,533 and this set of workshops is going to be introducing 4 00:00:12,600 --> 00:00:14,400 enamel painting to you 5 00:00:14,800 --> 00:00:16,700 I'm going to be going through 6 00:00:16,800 --> 00:00:19,566 this book that I wrote a few years ago 7 00:00:19,800 --> 00:00:22,500 and is now available as an epub 8 00:00:22,900 --> 00:00:26,066 and all the information in here is about 9 00:00:26,066 --> 00:00:27,799 on glaze enameling 10 00:00:28,966 --> 00:00:30,299 now on glaze enameling 11 00:00:30,300 --> 00:00:33,166 another word for it is over glaze 12 00:00:33,400 --> 00:00:38,400 and the paints contain metal oxide pigments 13 00:00:38,666 --> 00:00:41,666 and silica which is ground glass 14 00:00:42,066 --> 00:00:45,366 and the ones that I recommend have 5 percent lead 15 00:00:45,366 --> 00:00:47,766 and some precious metals to give them the 16 00:00:47,766 --> 00:00:49,133 brightest look of all 17 00:00:50,266 --> 00:00:52,599 so I've got a recommended palette 18 00:00:52,699 --> 00:00:55,666 which is mainly sunshine colors 19 00:00:55,900 --> 00:00:58,666 and then there are some saradel colors 20 00:00:58,666 --> 00:01:00,266 so I've put these in long 21 00:01:00,266 --> 00:01:02,299 tubes just to distinguish them 22 00:01:02,333 --> 00:01:04,099 there are three saradels 23 00:01:04,366 --> 00:01:08,499 the reason being that I've been using these on glaze 24 00:01:09,100 --> 00:01:11,100 sunshine colors since 1990 25 00:01:12,100 --> 00:01:13,400 but over the years 26 00:01:13,566 --> 00:01:17,499 three of the enamels have lost their clarity to me 27 00:01:17,600 --> 00:01:20,866 so I found saradel as a website 28 00:01:21,066 --> 00:01:24,399 and I've substituted three of them 29 00:01:24,966 --> 00:01:28,733 but just to introduce you to the basic colors 30 00:01:28,733 --> 00:01:31,699 the sunshine ones are mainly the blues 31 00:01:31,700 --> 00:01:34,600 and the Browns and a couple of yellows 32 00:01:34,766 --> 00:01:36,766 and then there's a 33 00:01:37,866 --> 00:01:40,766 Blue Claire which is the French Saradel 34 00:01:40,966 --> 00:01:44,366 and this used to be cobalt like a sort of Google 35 00:01:44,966 --> 00:01:47,366 Sky blue but they 36 00:01:47,666 --> 00:01:50,799 took that color out and they only give us Azure 37 00:01:50,800 --> 00:01:54,900 so I've introduced the saradel Blue Clair 38 00:01:55,466 --> 00:01:57,266 then there are some 39 00:01:57,500 --> 00:01:59,200 gold bearing products 40 00:01:59,200 --> 00:02:02,000 which are four times more expensive 41 00:02:02,000 --> 00:02:03,666 than the basic ones 42 00:02:03,666 --> 00:02:05,799 but absolutely beautiful to use 43 00:02:05,800 --> 00:02:08,266 because you've got a rich purple 44 00:02:08,733 --> 00:02:10,166 a purple red 45 00:02:11,066 --> 00:02:13,133 and then there used to be a 46 00:02:13,200 --> 00:02:16,100 there is still a dark cobalt in sunshine 47 00:02:16,100 --> 00:02:17,600 but I think that the 48 00:02:17,900 --> 00:02:20,800 Saradel Bluenwe is much richer 49 00:02:20,800 --> 00:02:22,533 so that's the one I recommend 50 00:02:23,066 --> 00:02:26,133 and then there are three colors which are 51 00:02:26,166 --> 00:02:27,466 cadmium colors 52 00:02:27,466 --> 00:02:30,499 so it's cadmium oxide that's used in the mix 53 00:02:30,866 --> 00:02:34,399 and these are the orange 54 00:02:34,966 --> 00:02:37,266 and the cardinal red in sunshine 55 00:02:37,466 --> 00:02:40,999 and then in saradel it's the Rouge Defer 56 00:02:41,100 --> 00:02:43,133 which is a lovely rich scarlet 57 00:02:43,966 --> 00:02:46,899 can be Poppy equivalent in sunshine 58 00:02:47,100 --> 00:02:50,933 but the Rouge Defer just gives that pure color 59 00:02:51,766 --> 00:02:56,899 and the cadmium colors behave in an unexpected way 60 00:02:57,200 --> 00:03:00,333 because when you mix red with blue 61 00:03:00,866 --> 00:03:02,199 you don't get purple 62 00:03:02,200 --> 00:03:05,366 you get a brown which is a lovely brown 63 00:03:05,500 --> 00:03:07,133 but a bit of a surprise 64 00:03:07,133 --> 00:03:09,699 so in order to get a purple mix 65 00:03:09,700 --> 00:03:13,000 you really need to use these pure purple colors 66 00:03:15,800 --> 00:03:17,533 now when you 67 00:03:17,800 --> 00:03:20,666 mix these colors onto your palette 68 00:03:20,666 --> 00:03:22,966 you have a basic set 69 00:03:22,966 --> 00:03:24,733 here's the palette layout 70 00:03:24,933 --> 00:03:27,599 and you really only need those colors 71 00:03:27,900 --> 00:03:29,333 because from these 72 00:03:29,666 --> 00:03:34,133 you can mix all of these by just mixing two together 73 00:03:34,266 --> 00:03:37,999 and just imagine how many you could mix if it was three 74 00:03:38,000 --> 00:03:38,566 together 75 00:03:38,566 --> 00:03:41,733 and that's the maximum that I'd recommend to get the 76 00:03:42,100 --> 00:03:44,900 clarity and brightness in the colors 77 00:03:45,800 --> 00:03:47,900 so here's my palette 78 00:03:48,066 --> 00:03:51,899 on the table there amongst these little pots of color 79 00:03:52,066 --> 00:03:54,099 and on the top of each pot 80 00:03:54,099 --> 00:03:55,866 I have a little button of color 81 00:03:56,066 --> 00:03:58,666 which is a copper enamel 82 00:03:58,933 --> 00:04:02,366 which I've then painted with the pure tone 83 00:04:02,366 --> 00:04:04,199 rich tone of that color 84 00:04:04,500 --> 00:04:06,100 and then the half tone 85 00:04:06,100 --> 00:04:07,466 just a thin wash 86 00:04:07,466 --> 00:04:10,366 just to show what it would look like at half strength 87 00:04:10,899 --> 00:04:12,166 so it's worth doing that 88 00:04:12,166 --> 00:04:14,766 because when the colors are wet 89 00:04:15,099 --> 00:04:17,766 or Blossy as in the Kiln 90 00:04:18,333 --> 00:04:21,799 then it's how they're going to look when they're fired 91 00:04:22,766 --> 00:04:25,299 so when you're working away on your painting 92 00:04:25,300 --> 00:04:26,800 as you lay the paint down 93 00:04:26,799 --> 00:04:29,066 that's what it's going to look like when it's fired 94 00:04:29,066 --> 00:04:33,466 but it will dry and look pastel like in the meantime 95 00:04:34,533 --> 00:04:37,099 so that's talking about the palette 96 00:04:37,100 --> 00:04:40,533 now obviously the color mix that you choose 97 00:04:40,666 --> 00:04:43,599 that's going to determine the color that you get 98 00:04:43,766 --> 00:04:47,899 and I mentioned about how cadmium oxides give you these 99 00:04:47,966 --> 00:04:50,299 lovely Browns in this area 100 00:04:50,700 --> 00:04:52,800 so the color mix is one thing 101 00:04:52,900 --> 00:04:56,366 for determining the final color 102 00:04:56,666 --> 00:05:00,866 but also you need to be aware of the base that you use 103 00:05:01,266 --> 00:05:03,766 if it's a piece of whiteboard 104 00:05:03,866 --> 00:05:06,533 chopped up with a guillotine like this sample 105 00:05:06,733 --> 00:05:09,466 then that's only half a millimeter thick 106 00:05:09,766 --> 00:05:13,299 and it's just had a brief coating of liquid enamel 107 00:05:13,900 --> 00:05:16,966 processed in a factory so it's been sprayed on 108 00:05:17,400 --> 00:05:18,933 as is this tile 109 00:05:18,933 --> 00:05:21,533 and this is also on steel but a lot thicker 110 00:05:21,533 --> 00:05:23,466 it's over a millimeter thick 111 00:05:23,600 --> 00:05:25,700 and that's how it keeps its shape 112 00:05:25,700 --> 00:05:27,200 and it doesn't distort 113 00:05:27,600 --> 00:05:31,366 so for test pieces or even little paintings 114 00:05:31,700 --> 00:05:34,066 the steel is really adequate 115 00:05:34,300 --> 00:05:34,866 but of course 116 00:05:34,866 --> 00:05:37,799 you may want to make your own copper shapes 117 00:05:40,133 --> 00:05:41,933 so talking about the steel 118 00:05:42,133 --> 00:05:43,866 there are particular 119 00:05:43,866 --> 00:05:47,499 white colors that work for the paints 120 00:05:47,900 --> 00:05:49,466 if you choose a white 121 00:05:49,466 --> 00:05:51,866 that isn't compatible with the paints 122 00:05:51,866 --> 00:05:54,399 then you're gonna get some odd colors 123 00:05:54,466 --> 00:05:59,333 and the fugitive red this purple red is the one that 124 00:05:59,566 --> 00:06:00,366 will 125 00:06:00,866 --> 00:06:02,066 really complain 126 00:06:02,066 --> 00:06:05,399 and turn out brown rather than this rich color 127 00:06:05,700 --> 00:06:08,366 so it's very important to get the base right 128 00:06:08,466 --> 00:06:11,533 and if you're making a beautiful 129 00:06:11,933 --> 00:06:14,533 opalescent in Amalon copper 130 00:06:14,700 --> 00:06:17,500 then it's a silky surface 131 00:06:17,566 --> 00:06:19,566 and the brush will just glide 132 00:06:19,600 --> 00:06:21,466 over that surface beautifully 133 00:06:21,733 --> 00:06:24,699 on steel it will tend to drag a bit 134 00:06:24,700 --> 00:06:27,200 because it's obviously a much cheaper base 135 00:06:27,366 --> 00:06:29,566 but here making your own copper bases 136 00:06:29,566 --> 00:06:31,666 you can choose to add 137 00:06:32,200 --> 00:06:34,700 gold flux first onto the copper 138 00:06:34,866 --> 00:06:38,999 and then three layers of opalescent and stone it back 139 00:06:39,000 --> 00:06:41,300 and then you've got your lovely base 140 00:06:41,700 --> 00:06:45,900 but for beginners I would suggest you work with steel 141 00:06:46,533 --> 00:06:47,999 and these little samples 142 00:06:48,000 --> 00:06:50,100 if you can get a piece of A4 143 00:06:50,266 --> 00:06:52,599 A3 whiteboard and chop it up 144 00:06:52,866 --> 00:06:53,999 then you can 145 00:06:54,000 --> 00:06:56,766 make all the samples that you want to test your colors 146 00:06:56,766 --> 00:06:59,866 for example rather than using these 147 00:06:59,866 --> 00:07:01,399 these steel tiles 148 00:07:01,733 --> 00:07:04,599 now the other factor so we've got the mix of color 149 00:07:04,700 --> 00:07:06,800 we've got the base that you use 150 00:07:06,866 --> 00:07:11,599 and the third fracture is the medium that you use 151 00:07:12,166 --> 00:07:16,499 and you can see testing this fugitive purple red 152 00:07:16,966 --> 00:07:18,699 with different media 153 00:07:18,800 --> 00:07:22,166 it shows a slightly different change of color 154 00:07:22,533 --> 00:07:26,366 so you've got the brightest here with Unimedia 155 00:07:26,466 --> 00:07:27,566 and Pinel 156 00:07:27,566 --> 00:07:30,399 I've used more paint there so it's a bit brighter 157 00:07:31,266 --> 00:07:35,599 Unimedia is a water based cellulose product 158 00:07:35,866 --> 00:07:38,699 and it's safe being water based 159 00:07:38,700 --> 00:07:40,266 that's why I've chosen it 160 00:07:40,866 --> 00:07:43,466 I'm going to be demonstrating with that today 161 00:07:43,899 --> 00:07:46,599 pine oil is something that I use for my painting 162 00:07:46,600 --> 00:07:48,400 but you could equally well use 163 00:07:48,500 --> 00:07:50,666 paraffin liquid paraffin oil 164 00:07:51,666 --> 00:07:55,933 or you can use glycerol which is something I'm 165 00:07:56,100 --> 00:07:59,166 going to be demonstrating in a future workshop 166 00:07:59,200 --> 00:08:00,800 that's water base these two 167 00:08:00,799 --> 00:08:03,699 water base makes them really safe to use 168 00:08:03,900 --> 00:08:07,000 but do be aware that you're using 169 00:08:07,333 --> 00:08:10,466 metal oxides and they are poisonous 170 00:08:10,466 --> 00:08:12,533 so never lick the brush 171 00:08:12,533 --> 00:08:15,533 and be very careful about cleanliness 172 00:08:15,533 --> 00:08:16,966 on the bench I'm 173 00:08:16,966 --> 00:08:18,366 wiping away any powders 174 00:08:18,366 --> 00:08:20,133 or to ever say they're not on your skin 175 00:08:21,066 --> 00:08:24,066 it's very good idea to work cleanly anyway 176 00:08:24,066 --> 00:08:26,766 because you want a dust free atmosphere 177 00:08:27,700 --> 00:08:32,133 any dust will fall on wet paint and clog it 178 00:08:32,133 --> 00:08:33,466 and I'll be showing you that 179 00:08:33,466 --> 00:08:36,466 something about that that the Kiln later 180 00:08:37,166 --> 00:08:41,499 the solvent obviously for the water based uni media 181 00:08:41,566 --> 00:08:42,866 and the glycerol 182 00:08:43,133 --> 00:08:45,366 you're going to be using water itself 183 00:08:45,866 --> 00:08:48,366 but when you use oil based 184 00:08:48,800 --> 00:08:52,600 media you're going to use something like zest it 185 00:08:52,966 --> 00:08:56,399 which is a much calmer version of white spirit 186 00:08:56,400 --> 00:08:58,000 which is a horrible smell 187 00:08:58,133 --> 00:09:00,399 but zest it is odorless 188 00:09:00,400 --> 00:09:04,300 or you can get a citric smell which is quite nice 189 00:09:04,733 --> 00:09:07,466 and you can also use 190 00:09:08,166 --> 00:09:11,899 alcohol has from the pharmacy or from the 191 00:09:12,133 --> 00:09:15,133 supermarket to use with preserving fruit 192 00:09:16,100 --> 00:09:19,666 it's nowadays it's about 70 percent alcohol 193 00:09:19,700 --> 00:09:22,666 it used to be about 97 when I first started 194 00:09:23,266 --> 00:09:26,799 and in Ireland they add meths into it 195 00:09:26,800 --> 00:09:28,500 to make it smell dreadful 196 00:09:28,500 --> 00:09:29,533 so that no 197 00:09:29,533 --> 00:09:32,333 alcoholics are going to be drinking it by the bottle 198 00:09:37,533 --> 00:09:40,533 I'm going to demonstrate the sponge painting technique 199 00:09:40,533 --> 00:09:42,199 that I've been talking about 200 00:09:42,300 --> 00:09:44,900 using this image by hocasai 201 00:09:44,900 --> 00:09:46,900 I'm great fan of Hocasai 202 00:09:47,166 --> 00:09:50,666 Japanese printmaker from the late 19th century 203 00:09:50,900 --> 00:09:55,333 and here we've got cranes and his beautiful 204 00:09:55,566 --> 00:09:56,866 work with the 205 00:09:57,466 --> 00:09:59,399 pen and then wash 206 00:09:59,533 --> 00:10:02,333 now possible make your 207 00:10:02,600 --> 00:10:06,766 tracing and then shade on the background there 208 00:10:08,000 --> 00:10:11,566 then transfer the image onto a plaque 209 00:10:12,300 --> 00:10:13,966 and then you'd be 210 00:10:14,166 --> 00:10:15,733 making an outline 211 00:10:15,866 --> 00:10:18,899 with pen ink which I'm going to show you in a minute 212 00:10:18,900 --> 00:10:19,966 for the butterfly 213 00:10:20,366 --> 00:10:21,866 but to lay this down 214 00:10:21,866 --> 00:10:24,299 I've put some areas in 215 00:10:24,300 --> 00:10:26,600 lacca resist which have dried now 216 00:10:26,800 --> 00:10:30,200 and I'm going to demonstrate paint over the top 217 00:10:30,200 --> 00:10:33,166 and removing that while the butterfly is drying 218 00:10:34,366 --> 00:10:36,366 so I'm going to take a palette knife 219 00:10:36,366 --> 00:10:40,333 and choose a couple of colors from the palette 220 00:10:40,333 --> 00:10:41,933 here one is Oka 221 00:10:42,700 --> 00:10:44,600 there sunshine color 222 00:10:45,000 --> 00:10:47,866 and then I'm going to use the Rouge Defer 223 00:10:47,866 --> 00:10:48,999 the Saradale color 224 00:10:49,100 --> 00:10:52,333 and mix those two together with some white 225 00:10:52,333 --> 00:10:54,999 now you'll find you get through much more white than 226 00:10:55,166 --> 00:10:55,966 anything else 227 00:10:56,100 --> 00:10:58,566 so you probably need double the quantity of that 228 00:10:59,466 --> 00:11:00,299 first of all 229 00:11:01,000 --> 00:11:03,133 take the lid off 230 00:11:03,766 --> 00:11:08,466 and just put put the only needs about that much 231 00:11:08,666 --> 00:11:10,566 quite a lot goes into the sponge 232 00:11:10,800 --> 00:11:14,600 but you wipe the palette knife and then 233 00:11:15,666 --> 00:11:17,899 take some of the rouge to fur 234 00:11:17,966 --> 00:11:20,133 which will be about that much I think 235 00:11:21,100 --> 00:11:22,966 just depending on your taste 236 00:11:24,966 --> 00:11:27,366 for colors and then add 237 00:11:27,866 --> 00:11:30,099 a good proportion of the white 238 00:11:32,733 --> 00:11:33,933 a bit like that 239 00:11:34,466 --> 00:11:35,933 I'm wiping the palette knife 240 00:11:35,933 --> 00:11:37,199 each time is really important 241 00:11:37,200 --> 00:11:39,766 because you don't want to contaminate the colors 242 00:11:40,300 --> 00:11:41,700 if you've taken too much 243 00:11:41,700 --> 00:11:44,366 don't be tempted to put them back into the pot 244 00:11:44,766 --> 00:11:47,933 because these pots are pure warehouse colors 245 00:11:47,933 --> 00:11:52,166 and you may actually contaminate the original pot 246 00:11:52,166 --> 00:11:54,399 and it would be such a shame to chuck all that 247 00:11:54,400 --> 00:11:55,700 away if you find it's just 248 00:11:55,700 --> 00:11:56,766 the whites gone off 249 00:11:56,766 --> 00:11:57,766 in some way 250 00:11:58,466 --> 00:12:00,566 now these colors are 251 00:12:01,366 --> 00:12:03,366 very very dense in pigment 252 00:12:03,366 --> 00:12:05,599 they're also very finely ground 253 00:12:05,600 --> 00:12:07,533 they're bit like Telcom powder there 254 00:12:07,533 --> 00:12:11,066 325 mesh which means 255 00:12:11,733 --> 00:12:15,666 325 little holes in one square inch 256 00:12:16,066 --> 00:12:17,399 and that's much finer 257 00:12:17,400 --> 00:12:19,566 than the average sort of enamel that you're using 258 00:12:19,566 --> 00:12:21,366 which is about 80 mesh 259 00:12:22,200 --> 00:12:24,700 granular but nevertheless 260 00:12:24,700 --> 00:12:25,800 under a microscope 261 00:12:25,800 --> 00:12:29,933 you can still see tiny little chips of glass 262 00:12:29,966 --> 00:12:33,166 and so it's very important to grind it well 263 00:12:33,400 --> 00:12:34,900 to blend the color 264 00:12:34,900 --> 00:12:37,700 and break down all these little balls of powder 265 00:12:37,966 --> 00:12:39,399 because if you leave any 266 00:12:39,933 --> 00:12:41,333 tiny balls of powder 267 00:12:41,400 --> 00:12:43,133 it will transfer to your painting 268 00:12:43,133 --> 00:12:45,866 and you may not see it when you've sponged it on 269 00:12:45,866 --> 00:12:47,999 but it will develop in the Kiln 270 00:12:49,966 --> 00:12:51,899 so I'm going to be using uni media 271 00:12:52,100 --> 00:12:55,933 and it's a quick drying water based medium 272 00:12:56,133 --> 00:12:58,499 which is ideal for this purpose 273 00:12:59,000 --> 00:12:59,800 and 274 00:12:59,933 --> 00:13:03,566 people love to use it if they're doing quick paintings 275 00:13:03,733 --> 00:13:07,666 but it's a closed what we call a closed medium 276 00:13:07,733 --> 00:13:10,066 in that it will dry quite quickly 277 00:13:10,066 --> 00:13:12,733 so there isn't very long to work with it 278 00:13:12,966 --> 00:13:16,366 if you're wanting a more open medium then later 279 00:13:16,366 --> 00:13:18,866 I should be showing you how to work with glycerol 280 00:13:18,866 --> 00:13:20,866 which is another water based medium 281 00:13:21,133 --> 00:13:23,099 or any of the oils 282 00:13:23,099 --> 00:13:26,799 uh like sangshine oil is the most open of all 283 00:13:27,000 --> 00:13:30,333 meaning that you can work it for a very long time 284 00:13:30,333 --> 00:13:33,066 like months and it still won't have dried 285 00:13:33,133 --> 00:13:36,499 so that's just perfect for doing a very fine portrait 286 00:13:36,666 --> 00:13:41,499 and so is um let me see we've got paraffin oil 287 00:13:41,700 --> 00:13:43,966 which is an open medium 288 00:13:44,366 --> 00:13:47,699 and painting medium which I like 289 00:13:48,000 --> 00:13:49,566 which has pine oil in it 290 00:13:49,733 --> 00:13:53,533 that takes probably about a day and a half to dry 291 00:13:54,133 --> 00:13:56,566 now when you've mixed the medium 292 00:13:56,733 --> 00:13:59,699 into the paint you've got to use it straight away 293 00:13:59,733 --> 00:14:01,099 if it's Unimedia 294 00:14:02,166 --> 00:14:03,866 because it's going to dry 295 00:14:03,866 --> 00:14:05,466 and if it's dried 296 00:14:05,466 --> 00:14:07,666 if any of your paints have completely dried 297 00:14:07,666 --> 00:14:09,066 you've got to chuck them 298 00:14:10,200 --> 00:14:12,933 so you can keep them refreshed every day 299 00:14:13,133 --> 00:14:15,533 by grinding in a little bit more medium 300 00:14:15,566 --> 00:14:17,699 into each of the paints on the palette 301 00:14:17,800 --> 00:14:20,066 and that way they'll stay wet 302 00:14:20,600 --> 00:14:22,000 if they've dried 303 00:14:22,166 --> 00:14:24,366 you've got to actually discard them 304 00:14:24,966 --> 00:14:27,599 so here we've got a lovely peachy color 305 00:14:29,100 --> 00:14:30,533 clean up the palette knife 306 00:14:30,600 --> 00:14:33,333 and just dip it in water to make sure it's clean 307 00:14:33,566 --> 00:14:36,099 and then I'm going to take a sponge 308 00:14:36,100 --> 00:14:38,200 now these are ready prepared 309 00:14:38,600 --> 00:14:41,000 on sticks which are quite good 310 00:14:41,100 --> 00:14:45,933 but what I've also used are these upholstery sponges 311 00:14:46,100 --> 00:14:47,400 so if you've got a friendly 312 00:14:47,400 --> 00:14:49,800 upholsterer who would give you off cuts 313 00:14:49,900 --> 00:14:53,533 then cut them up into finger sized pieces 314 00:14:53,566 --> 00:14:56,199 and that will work just as well for 315 00:14:57,100 --> 00:14:59,766 transferring the paint to the enamel 316 00:15:00,466 --> 00:15:02,333 so try a little bit there 317 00:15:02,333 --> 00:15:05,133 and you can see a million dots already 318 00:15:05,366 --> 00:15:07,466 a transferred onto the tile 319 00:15:07,600 --> 00:15:10,133 so I'm going to go over this lacquer resist 320 00:15:10,133 --> 00:15:11,999 that I actually prepared earlier 321 00:15:12,000 --> 00:15:13,333 so it's nice and dry 322 00:15:13,400 --> 00:15:16,800 never go over it if the lacquer resist is wet 323 00:15:16,800 --> 00:15:17,933 because it will just get 324 00:15:18,200 --> 00:15:20,533 all over your sponge and ruin it 325 00:15:22,933 --> 00:15:25,766 so there for the purposes of the demo 326 00:15:26,566 --> 00:15:28,399 I'm now just going to 327 00:15:28,800 --> 00:15:31,200 peel back a little corner here 328 00:15:31,500 --> 00:15:34,066 with the tweezers and peel it off 329 00:15:34,766 --> 00:15:36,899 and as good as your painting was 330 00:15:36,900 --> 00:15:37,966 with the lacquer resist 331 00:15:37,966 --> 00:15:40,333 then you've got the image back 332 00:15:40,733 --> 00:15:41,733 and you've got the white 333 00:15:41,733 --> 00:15:44,966 if you wanted to paint that in detail 334 00:15:45,100 --> 00:15:47,733 and look at the way it just comes off so beautifully 335 00:15:48,500 --> 00:15:50,900 say there's one that I did earlier 336 00:15:51,000 --> 00:15:53,700 and I actually put a little border around that 337 00:15:53,700 --> 00:15:56,366 so I used some electricians tape 338 00:15:56,600 --> 00:15:59,566 or you could use masking tape to make the border 339 00:15:59,800 --> 00:16:01,566 before I did this sponging 340 00:16:02,200 --> 00:16:04,066 not so easy to 341 00:16:04,800 --> 00:16:07,900 clear it afterwards but you could 342 00:16:08,133 --> 00:16:08,933 so 343 00:16:09,600 --> 00:16:11,366 anything that you've put on 344 00:16:11,800 --> 00:16:15,800 with the sponge you can remove with a brush 345 00:16:17,133 --> 00:16:18,699 bring down the border like that 346 00:16:18,700 --> 00:16:22,100 but probably better to use the masking tape first 347 00:16:22,866 --> 00:16:26,566 you can also use scrafito to go into this 348 00:16:28,500 --> 00:16:30,066 get a bit of detail 349 00:16:32,966 --> 00:16:35,166 so that gives you the idea 350 00:16:35,199 --> 00:16:37,999 and finally it could look like this 351 00:16:38,566 --> 00:16:40,566 where you've got two layers of sponging 352 00:16:40,566 --> 00:16:42,599 so you'd have to cover 353 00:16:42,933 --> 00:16:45,133 the cranes twice over 354 00:16:45,333 --> 00:16:46,966 and then the second layer 355 00:16:46,966 --> 00:16:48,533 I've actually done this graffiti 356 00:16:48,533 --> 00:16:49,899 through the second layer of paint 357 00:16:49,899 --> 00:16:52,599 where I put bands of color on with the sponge 358 00:16:52,700 --> 00:16:54,766 rather than just one color overall 359 00:16:55,366 --> 00:16:57,466 the initial layer was one color 360 00:16:57,700 --> 00:17:01,100 and then I did lacquerasist second time 361 00:17:01,166 --> 00:17:03,066 sponged over for the second time 362 00:17:03,099 --> 00:17:04,666 and then worked 363 00:17:04,700 --> 00:17:06,700 into the top layer of paint 364 00:17:06,700 --> 00:17:09,666 to reveal the painted layer below 365 00:17:09,733 --> 00:17:12,133 so all sorts of possibilities there 366 00:17:19,200 --> 00:17:24,266 so I'm going to be using the uni media today 367 00:17:24,666 --> 00:17:26,066 water based Unimedia 368 00:17:26,066 --> 00:17:27,866 so for this demonstration 369 00:17:27,933 --> 00:17:31,766 I'm going to be showing how to make a design using 370 00:17:31,933 --> 00:17:33,799 about 6 or 7 techniques 371 00:17:33,800 --> 00:17:36,000 so it's a very basic design 372 00:17:36,333 --> 00:17:38,799 and it follows on from the Powerpoint 373 00:17:38,900 --> 00:17:41,866 where I showed the quits about a butterfly 374 00:17:42,266 --> 00:17:43,366 so choose your own 375 00:17:43,466 --> 00:17:46,799 or do something completely different as an exercise 376 00:17:47,166 --> 00:17:48,099 but here 377 00:17:48,100 --> 00:17:51,333 I've chosen to use these six or seven techniques 378 00:17:51,333 --> 00:17:53,499 and I'm going to be showing this now 379 00:17:53,499 --> 00:17:54,899 from start to finish 380 00:17:55,566 --> 00:17:59,399 I have a little design that I made 381 00:17:59,900 --> 00:18:01,000 in watercolor 382 00:18:01,566 --> 00:18:05,899 and then the first thing that I did was to trace over 383 00:18:06,800 --> 00:18:08,266 and the next thing 384 00:18:08,266 --> 00:18:09,766 just like your dography lessons 385 00:18:09,766 --> 00:18:12,133 you want to transfer the image 386 00:18:12,366 --> 00:18:14,533 so on the back of the tracing 387 00:18:14,533 --> 00:18:18,166 just go over it with an HB pencil 388 00:18:18,866 --> 00:18:19,866 anything darker than that 389 00:18:19,866 --> 00:18:22,466 is going to leave a little bit too much carbon 390 00:18:22,500 --> 00:18:23,600 on the enamel 391 00:18:23,866 --> 00:18:26,999 but I found a very good way of transferring the image 392 00:18:27,566 --> 00:18:29,899 and the traditional way of 393 00:18:30,000 --> 00:18:32,866 putting pencil onto enamel was to grind 394 00:18:32,866 --> 00:18:35,166 back the enamel plaque 395 00:18:35,500 --> 00:18:39,733 and then use pencil all over it and fire it in the Kiln 396 00:18:39,733 --> 00:18:41,133 but I thought that that was 397 00:18:41,200 --> 00:18:43,933 quite a sort of abusive thing to do to enamel 398 00:18:44,366 --> 00:18:47,666 and when I found this from reading books on ceramics 399 00:18:47,666 --> 00:18:48,733 I thought that's it 400 00:18:48,733 --> 00:18:50,366 I wonder if that works for enamel 401 00:18:50,366 --> 00:18:54,333 and it does so what you need is some modeling play 402 00:18:55,300 --> 00:18:57,300 and this is a bit like plasticine 403 00:18:57,300 --> 00:18:59,300 but it's not the kid's plasticine 404 00:18:59,800 --> 00:19:02,066 it's a lovely it's got a good smell 405 00:19:02,066 --> 00:19:06,166 this one and another one is made very near where I live 406 00:19:06,166 --> 00:19:08,199 where they dig clay out 407 00:19:08,200 --> 00:19:10,466 and there are a lot of potters in the area that 408 00:19:10,466 --> 00:19:11,599 to use the clay 409 00:19:12,466 --> 00:19:14,199 so you've got your plaque 410 00:19:14,333 --> 00:19:18,366 and you roll the modeling clay over the top 411 00:19:19,333 --> 00:19:20,966 and what you're doing is getting 412 00:19:20,966 --> 00:19:23,299 a matte key to the surface 413 00:19:23,500 --> 00:19:27,166 so what it was was a glossy shiny surface 414 00:19:27,700 --> 00:19:30,066 that just wouldn't take pencil very well at all 415 00:19:30,366 --> 00:19:32,566 but once you've got that key there 416 00:19:32,733 --> 00:19:35,099 then it's going to receive the pencil 417 00:19:35,100 --> 00:19:37,000 and it will burn out in the Kiln 418 00:19:37,800 --> 00:19:39,266 so that's very effective 419 00:19:39,733 --> 00:19:43,099 just going to anchor the plaque a little bit 420 00:19:44,066 --> 00:19:45,899 stop it bouncing around 421 00:19:46,200 --> 00:19:48,333 and then put the tracing 422 00:19:48,766 --> 00:19:52,199 down there and I've got registered corners 423 00:19:52,300 --> 00:19:54,866 so that I know where I want it to go 424 00:19:55,100 --> 00:19:57,333 so I've got the tracing registered 425 00:19:57,333 --> 00:19:59,533 over the top of the enamel plaque now 426 00:19:59,533 --> 00:20:02,933 using these little corner marks that I put on earlier 427 00:20:02,966 --> 00:20:05,133 and I'm going to just trace 428 00:20:05,200 --> 00:20:08,166 over the silhouettes of each of the butterflies 429 00:20:08,166 --> 00:20:11,066 go round with your pencil as careful as you can 430 00:20:11,733 --> 00:20:16,199 and transferring the pencil shading 431 00:20:16,300 --> 00:20:20,200 onto the actual plaque so that you've got guidelines 432 00:20:20,266 --> 00:20:21,599 for the painting 433 00:20:23,166 --> 00:20:24,299 in the 434 00:20:25,133 --> 00:20:27,599 photo I've also got visual 435 00:20:28,333 --> 00:20:30,899 aid here which is what we're aiming for 436 00:20:30,900 --> 00:20:34,000 so you may like to look at that in the meantime 437 00:20:34,666 --> 00:20:37,066 well I just hastily go round here 438 00:20:39,366 --> 00:20:41,933 I'm going to be introducing a technique called 439 00:20:41,933 --> 00:20:42,766 sponge painting 440 00:20:42,766 --> 00:20:45,999 which again I borrowed from the ceramics industry 441 00:20:46,300 --> 00:20:49,533 and it's the ceramics industry that uses these 442 00:20:49,866 --> 00:20:52,199 on glaze over glaze paints 443 00:20:52,866 --> 00:20:54,166 and you know 444 00:20:54,266 --> 00:20:56,699 they are made for the ceramics industry 445 00:20:56,700 --> 00:20:59,700 and we enamel painters just ride on the back of that 446 00:20:59,700 --> 00:21:01,733 and that's how they're available to us 447 00:21:02,300 --> 00:21:03,100 if you're 448 00:21:03,166 --> 00:21:07,266 mixing your colors you can choose any colors that are 449 00:21:07,466 --> 00:21:10,333 leaded and they will mix together 450 00:21:10,800 --> 00:21:14,800 but don't mix unleaded colors together with them 451 00:21:14,900 --> 00:21:18,100 just keep to the leaded and that will be fine 452 00:21:19,733 --> 00:21:22,099 so there's enormous number of colors out there 453 00:21:22,100 --> 00:21:23,366 but I've just reduced the 454 00:21:23,366 --> 00:21:25,366 palette to a manageable number 455 00:21:25,466 --> 00:21:27,699 and those are the ones that you just need to grind 456 00:21:27,700 --> 00:21:30,066 every day right revealing 457 00:21:30,333 --> 00:21:33,266 the pencil line which has come out really fine 458 00:21:34,600 --> 00:21:37,400 apart from I just forgot that little bit 459 00:21:37,400 --> 00:21:38,700 but that's good 460 00:21:38,700 --> 00:21:40,700 because I can show you that you can just draw 461 00:21:40,700 --> 00:21:42,333 free hand with pencil 462 00:21:42,400 --> 00:21:43,200 over the top 463 00:21:43,800 --> 00:21:46,733 and that could be fired in the Kiln 464 00:21:46,733 --> 00:21:48,999 now to secure the pencil 465 00:21:49,000 --> 00:21:51,333 and you fire it at 750 466 00:21:51,466 --> 00:21:54,766 degree centigrade 1382 Fahrenheit 467 00:21:55,300 --> 00:21:58,466 and then the pencil line just drops into the base 468 00:21:58,466 --> 00:22:02,099 and all of this greasy modeling clay disappears 469 00:22:02,100 --> 00:22:03,200 that burns out 470 00:22:03,466 --> 00:22:06,066 and you've got a silvery line left 471 00:22:06,266 --> 00:22:07,666 which is your guide 472 00:22:07,666 --> 00:22:11,066 if you're not confident about doing a painting 473 00:22:12,066 --> 00:22:12,799 say you start it 474 00:22:12,800 --> 00:22:14,466 the painting and you've got the pencil line 475 00:22:14,466 --> 00:22:15,699 you weren't happy with the painting 476 00:22:15,700 --> 00:22:16,933 you just wipe it off 477 00:22:16,933 --> 00:22:19,566 and that's the beauty of this medium 478 00:22:20,066 --> 00:22:24,199 it's unusual in that you test your art in the Kiln 479 00:22:24,466 --> 00:22:25,899 you put it into the flight 480 00:22:26,133 --> 00:22:27,133 into the fire 481 00:22:27,366 --> 00:22:29,366 and also your 482 00:22:30,333 --> 00:22:34,499 really every brush stroke is a spontaneous one 483 00:22:35,566 --> 00:22:38,133 so I need to put the pencil line down 484 00:22:38,166 --> 00:22:41,266 pencil and pick up red resist 485 00:22:41,400 --> 00:22:43,600 now this is lacquer resist 486 00:22:43,766 --> 00:22:46,299 again used in the ceramics industry 487 00:22:46,300 --> 00:22:48,366 and it's very glue pea stuff 488 00:22:48,366 --> 00:22:51,299 it's a bit like rubbery nail varnish 489 00:22:51,500 --> 00:22:54,666 so you want to use a different sort of brush for it 490 00:22:54,666 --> 00:22:55,299 not 491 00:22:55,300 --> 00:22:58,300 any of your lovely sable brushes that you might have 492 00:22:58,966 --> 00:23:00,999 I'm just going to make sure that's clean 493 00:23:01,000 --> 00:23:03,166 and what I'm going to be doing is 494 00:23:03,400 --> 00:23:05,266 just covering over 495 00:23:05,266 --> 00:23:07,599 each of these butterfly silhouettes 496 00:23:07,600 --> 00:23:10,266 so that I'm resisting the paint 497 00:23:10,300 --> 00:23:11,366 that I'm going to add 498 00:23:11,533 --> 00:23:13,333 and when I peel this off 499 00:23:13,333 --> 00:23:16,133 it's going to reveal the white background 500 00:23:17,600 --> 00:23:19,100 for each of the butterflies 501 00:23:19,100 --> 00:23:22,366 so it's really protecting the white at the moment 502 00:23:22,366 --> 00:23:23,733 a bit like batik 503 00:23:24,333 --> 00:23:26,533 it's quite good if you put your piece on a 504 00:23:26,566 --> 00:23:28,299 piece of card like this 505 00:23:28,300 --> 00:23:30,933 because then you can turn the card instead of having 506 00:23:30,933 --> 00:23:32,366 to turn the enamel 507 00:23:32,366 --> 00:23:33,799 and grip it at the corners 508 00:23:33,800 --> 00:23:36,100 that's particularly useful when you're painting 509 00:23:36,700 --> 00:23:39,533 so make sure that this is quite glue pea 510 00:23:39,866 --> 00:23:43,966 and dark a bit like the latter resist in the pot 511 00:23:44,366 --> 00:23:46,066 if you make it too thin 512 00:23:46,066 --> 00:23:47,366 it's going to be too 513 00:23:47,366 --> 00:23:49,899 brittle to get off when you peel it 514 00:23:50,333 --> 00:23:52,499 and if it's about this sort of thickness 515 00:23:52,500 --> 00:23:55,200 it will all come off in one beautifully 516 00:23:56,533 --> 00:24:00,133 so this is going to be done and then left to dry 517 00:24:00,133 --> 00:24:02,799 so I'll demonstrate something else in the meantime 518 00:24:04,533 --> 00:24:06,099 butterflies body 519 00:24:07,566 --> 00:24:08,899 come around here now 520 00:24:09,300 --> 00:24:10,600 any image will do 521 00:24:10,600 --> 00:24:13,700 as long as you use the techniques that I'm teaching 522 00:24:13,766 --> 00:24:16,266 in this demo 523 00:24:23,133 --> 00:24:25,199 you can draw this resist out 524 00:24:25,200 --> 00:24:27,133 so you can put a blob down and then just 525 00:24:27,133 --> 00:24:29,333 draw it around so that it's 526 00:24:29,400 --> 00:24:32,300 inside the area of the pencil 527 00:24:33,166 --> 00:24:34,666 that you've drawn on 528 00:24:38,266 --> 00:24:39,666 by the way with pencil 529 00:24:39,666 --> 00:24:40,099 you could 530 00:24:40,100 --> 00:24:42,733 just make a lovely pencil drawing with shading 531 00:24:43,366 --> 00:24:45,733 provided you've got this key labe down 532 00:24:45,733 --> 00:24:49,166 it will receive it and it will far beautifully 533 00:24:49,566 --> 00:24:52,799 and some people would make a shaded pencil drawing 534 00:24:52,800 --> 00:24:55,533 and then just tint it up with color afterwards 535 00:24:55,666 --> 00:24:57,666 and if they're not happy with the color 536 00:24:57,933 --> 00:24:59,599 they could just wipe it off 537 00:24:59,733 --> 00:25:01,733 and reveal the pencil again 538 00:25:01,733 --> 00:25:03,399 which has already been fired 539 00:25:03,500 --> 00:25:04,800 and start again 540 00:25:06,766 --> 00:25:09,699 so it's very forgiving in that way there's any winning 541 00:25:09,700 --> 00:25:10,500 fired 542 00:25:11,166 --> 00:25:13,799 enamel is absolutely permanent 543 00:25:13,800 --> 00:25:16,866 it doesn't fade in sunlight and 544 00:25:17,100 --> 00:25:18,933 it will last for generations 545 00:25:19,100 --> 00:25:21,466 and the only thing that you have to be weary of 546 00:25:21,466 --> 00:25:22,499 because its glass 547 00:25:22,500 --> 00:25:25,266 is that it might break if you dropped it on the floor 548 00:25:25,300 --> 00:25:27,133 especially if it's a concrete floor 549 00:25:30,266 --> 00:25:32,333 so just roughly going around here 550 00:25:41,966 --> 00:25:43,799 I went to the Emma 551 00:25:43,800 --> 00:25:46,800 Bridgewater factory and Stoke on Trent in UK 552 00:25:47,900 --> 00:25:50,600 the year that it was there 25th anniversary 553 00:25:50,600 --> 00:25:52,600 it was 2010 I believe 554 00:25:53,099 --> 00:25:54,866 and I was at 555 00:25:54,866 --> 00:25:56,066 it was at the end of the day 556 00:25:56,066 --> 00:25:58,299 cause I'd had some meeting since their contramp 557 00:25:58,300 --> 00:26:00,166 and I just wanted to have a look in 558 00:26:00,666 --> 00:26:02,166 and they were about to 559 00:26:02,166 --> 00:26:03,666 well half an out of closing 560 00:26:03,666 --> 00:26:05,999 and somebody very kindly took me around 561 00:26:06,000 --> 00:26:07,566 and they were doing um 562 00:26:07,599 --> 00:26:10,966 sponge painting there for sets of mugs and 563 00:26:11,500 --> 00:26:14,266 beautiful pieces bowls and so on 564 00:26:14,466 --> 00:26:17,733 and as I was going round I was beginning to think 565 00:26:17,733 --> 00:26:20,533 I wonder if you can do that with enameling 566 00:26:20,766 --> 00:26:22,666 so I experimented 567 00:26:23,533 --> 00:26:26,133 and my delight I found it was possible 568 00:26:26,133 --> 00:26:28,466 and this is a very good introduction to 569 00:26:28,466 --> 00:26:30,866 people who are scared of using a paintbrush 570 00:26:32,733 --> 00:26:33,899 but even then 571 00:26:34,066 --> 00:26:36,099 using these techniques myself 572 00:26:36,166 --> 00:26:39,499 I actually incorporate them into portrait painting 573 00:26:39,866 --> 00:26:43,299 because I'll use sponge painting to cover 574 00:26:43,300 --> 00:26:45,700 a background to a portrait 575 00:26:46,133 --> 00:26:49,166 in order to get rid of all the white quite quickly 576 00:26:49,966 --> 00:26:53,899 so I would make the portrait silhouette in white by 577 00:26:53,966 --> 00:26:56,799 this method of covering over the white 578 00:26:56,899 --> 00:26:58,266 with the lacquer resist 579 00:26:58,600 --> 00:26:59,566 and then 580 00:26:59,766 --> 00:27:02,199 sponge over as I'm going to show you in a minute 581 00:27:02,400 --> 00:27:04,733 and then reveal the white again 582 00:27:04,733 --> 00:27:06,866 and that would be then the portrait painting 583 00:27:06,866 --> 00:27:08,966 so I'm going to put the lid back on 584 00:27:09,866 --> 00:27:11,466 so that it doesn't fry out 585 00:27:11,600 --> 00:27:15,133 I've wiped off any excess lacquer resist there 586 00:27:15,533 --> 00:27:17,299 and then wash the brush in water 587 00:27:17,300 --> 00:27:19,466 and you can see the water doesn't even turn red 588 00:27:19,466 --> 00:27:21,566 which means you don't have to ditch your water 589 00:27:21,566 --> 00:27:24,533 all the time but you would as soon as it 590 00:27:25,000 --> 00:27:27,100 has a color in it and your painting 591 00:27:27,300 --> 00:27:29,300 just keep changing the water 592 00:27:29,933 --> 00:27:32,133 so we're going to put this on one side 593 00:27:32,333 --> 00:27:36,566 to let it dry while I show you some other techniques 594 00:27:39,299 --> 00:27:41,133 here's a color wheel that I made 595 00:27:41,133 --> 00:27:44,399 showing the paint palette that I like to work with 596 00:27:44,466 --> 00:27:48,199 the sunshine colors and the saradel colors 597 00:27:49,400 --> 00:27:50,266 in the 598 00:27:50,400 --> 00:27:56,100 pots here we've got 17 basic colors and my palette is 599 00:27:56,300 --> 00:27:57,100 19 600 00:27:57,266 --> 00:28:00,933 because I make up two mixes which I'll show you later 601 00:28:02,199 --> 00:28:03,099 I've got 602 00:28:03,900 --> 00:28:06,733 all of these in little pots ready to use 603 00:28:06,733 --> 00:28:08,333 I've got two others 604 00:28:08,366 --> 00:28:10,699 which are Mandarin and Iron Red 605 00:28:10,700 --> 00:28:11,866 which I just happen to have 606 00:28:11,866 --> 00:28:12,866 but they're not 607 00:28:12,933 --> 00:28:15,699 really essential for your basic palette 608 00:28:15,733 --> 00:28:17,166 these are pure colors 609 00:28:17,166 --> 00:28:19,899 and you won't need to add any more to that 610 00:28:20,200 --> 00:28:21,166 just work with those 611 00:28:21,166 --> 00:28:23,533 I've done all the portraits that I've done 612 00:28:24,100 --> 00:28:29,400 maybe 600 over my career of about 30 years using these 613 00:28:30,166 --> 00:28:32,299 so the colors that we're going to mix up 614 00:28:32,300 --> 00:28:34,866 today for the background are going to be 615 00:28:34,866 --> 00:28:35,933 a bluey color 616 00:28:36,133 --> 00:28:39,099 and this as your is incredibly strong 617 00:28:39,466 --> 00:28:40,733 so it just needs 618 00:28:40,733 --> 00:28:43,266 a little of that compared with the white 619 00:28:43,333 --> 00:28:44,166 to use 620 00:28:45,300 --> 00:28:47,166 so lay down some of that 621 00:28:51,200 --> 00:28:52,166 and then 622 00:28:53,500 --> 00:28:55,333 I'll need a lot of white 623 00:28:56,666 --> 00:28:57,966 put that there 624 00:29:00,566 --> 00:29:02,399 and then I'm going to use the 625 00:29:02,899 --> 00:29:04,533 blue clap as well 626 00:29:11,133 --> 00:29:15,366 but into the blue Clare I'm going to add some turquoise 627 00:29:15,766 --> 00:29:19,399 so you can mix your paints and blend them 628 00:29:21,133 --> 00:29:22,366 that's a choice that 629 00:29:26,000 --> 00:29:27,466 the uni media 630 00:29:27,900 --> 00:29:30,100 can get up to the bottle using 631 00:29:32,100 --> 00:29:33,166 a spill 632 00:29:34,500 --> 00:29:36,933 like this like a coffee spill 633 00:29:36,966 --> 00:29:39,499 but notice that I'm putting the medium 634 00:29:39,666 --> 00:29:41,499 next to the paint 635 00:29:41,899 --> 00:29:43,966 not actually dumping it in the middle 636 00:29:44,000 --> 00:29:44,900 because if you did that 637 00:29:44,900 --> 00:29:47,700 those little balls of color would just roll everywhere 638 00:29:48,733 --> 00:29:49,566 and just put about 639 00:29:49,566 --> 00:29:51,999 as much as you've got paint down there 640 00:29:52,000 --> 00:29:55,000 just put the Unimedia down as a blob 641 00:29:55,166 --> 00:29:57,166 and it just sits there like a mound 642 00:29:59,533 --> 00:30:02,466 and then a bit like any preparation for cooking 643 00:30:02,499 --> 00:30:06,299 you just start to blend color with medium 644 00:30:06,400 --> 00:30:09,300 and this applies to whatever medium you're using 645 00:30:09,766 --> 00:30:11,266 just blend that in 646 00:30:11,666 --> 00:30:15,366 and never ever use the solvent with the paint 647 00:30:15,499 --> 00:30:16,299 like this 648 00:30:16,333 --> 00:30:19,299 only add medium if you want to let it down a bit 649 00:30:20,500 --> 00:30:23,466 more medium means that it's going to be quite diffuse 650 00:30:23,466 --> 00:30:24,299 when you lay it down 651 00:30:24,299 --> 00:30:27,099 it's going to just blur and blend 652 00:30:27,600 --> 00:30:30,766 if you've got less medium you'll see more dots 653 00:30:30,900 --> 00:30:33,966 like when I was demonstrating the Hawker side I had 654 00:30:34,599 --> 00:30:36,533 a stickier liquid 655 00:30:37,100 --> 00:30:41,166 now this is enamel paint is called thixotropic 656 00:30:41,166 --> 00:30:43,333 it behaves in a thixotropic way 657 00:30:43,333 --> 00:30:48,666 that's thixo tropic tro P IC 658 00:30:48,866 --> 00:30:50,533 and so it behaves like toothpaste 659 00:30:50,533 --> 00:30:52,933 that you can squeeze it out of a tube say 660 00:30:53,100 --> 00:30:54,600 but it holds its shape 661 00:30:55,500 --> 00:30:58,300 this one is a little bit too watery to do that 662 00:30:58,300 --> 00:31:00,566 but when you've dumped it 663 00:31:01,533 --> 00:31:03,533 it shouldn't spread too far 664 00:31:03,533 --> 00:31:05,266 so that's very useful in a palette 665 00:31:05,266 --> 00:31:07,066 where you can lay out your colors 666 00:31:07,799 --> 00:31:09,333 so there's one mixed up 667 00:31:09,900 --> 00:31:11,966 I don't need to wash the palette knife for this 668 00:31:11,966 --> 00:31:14,333 I'm not going to mix all the unimeater in 669 00:31:14,333 --> 00:31:15,599 because then I can show you 670 00:31:15,866 --> 00:31:17,999 how it can become stickier 671 00:31:18,733 --> 00:31:19,733 to here 672 00:31:20,733 --> 00:31:22,166 grinding away 673 00:31:22,800 --> 00:31:24,933 it's a bit like silks green painting 674 00:31:25,800 --> 00:31:30,966 it's got that lovely lovely gossie look to it 675 00:31:31,966 --> 00:31:34,699 but it behaves more like watercolor painting 676 00:31:35,266 --> 00:31:37,499 but of course you could be using oil 677 00:31:37,866 --> 00:31:38,999 in the mix 678 00:31:39,366 --> 00:31:42,366 and it can behave like gourch if you add white 679 00:31:43,699 --> 00:31:46,933 so the white which is opaque will 680 00:31:47,500 --> 00:31:50,766 when you're laying down paint after paint layer 681 00:31:51,366 --> 00:31:53,366 the white will to a certain extent 682 00:31:53,366 --> 00:31:55,366 block out what you've got beneath 683 00:31:57,066 --> 00:32:01,533 and again I can just not clean the palette but to 684 00:32:01,866 --> 00:32:03,899 palette knife and just blend in 685 00:32:04,166 --> 00:32:06,699 the white to have that as a mix 686 00:32:10,366 --> 00:32:12,799 on it that's getting nice and rich 687 00:32:14,400 --> 00:32:15,566 breaking down all these 688 00:32:15,566 --> 00:32:18,066 little balls of powder that I can see 689 00:32:21,933 --> 00:32:25,899 and the trick is to gather it up on the palette knife 690 00:32:25,900 --> 00:32:27,066 and then dump it down 691 00:32:27,066 --> 00:32:29,066 again and just give it a good slapping 692 00:32:31,099 --> 00:32:31,899 there 693 00:32:35,566 --> 00:32:38,399 I'm just feeling my way with how much I need here 694 00:32:39,300 --> 00:32:42,466 because I'm just going to grate the color upwards 695 00:32:42,466 --> 00:32:44,199 so just put a bit more 696 00:32:44,500 --> 00:32:47,600 of the blue Clair tuck coise mix in there 697 00:32:50,500 --> 00:32:51,733 a little bit more again 698 00:32:59,333 --> 00:33:00,599 and touch more 699 00:33:00,966 --> 00:33:02,533 and I've got it to that right 700 00:33:07,600 --> 00:33:10,100 so I'm gonna clean off the palette knife 701 00:33:10,300 --> 00:33:12,000 and into water as well 702 00:33:13,200 --> 00:33:16,933 and now take a sponge on a stick 703 00:33:17,866 --> 00:33:20,266 or you could be using the upholstery sponge 704 00:33:20,466 --> 00:33:24,666 and just get any sort of dust off the sponge first 705 00:33:24,866 --> 00:33:26,999 and then dab into the paint 706 00:33:30,900 --> 00:33:33,066 and because this is mounted 707 00:33:33,066 --> 00:33:34,666 it just needs a little bit of 708 00:33:34,733 --> 00:33:36,133 tack underneath 709 00:33:36,133 --> 00:33:39,533 to stop it bouncing when you applied a sponging 710 00:33:42,000 --> 00:33:44,566 and then coming upwards like this 711 00:33:50,366 --> 00:33:52,299 just covering the lower area 712 00:33:56,100 --> 00:33:57,266 mending that town 713 00:34:03,533 --> 00:34:06,166 then into this one 714 00:34:06,700 --> 00:34:08,600 coming down the way 715 00:34:09,900 --> 00:34:11,733 and blending to the hair 716 00:34:20,200 --> 00:34:22,733 and then finally the darkest color of all 717 00:34:22,866 --> 00:34:24,699 which is the pure Asia 718 00:34:24,800 --> 00:34:26,566 and come from the top 719 00:34:30,400 --> 00:34:32,166 and down to about there 720 00:34:33,466 --> 00:34:35,166 and that's really intense 721 00:34:39,166 --> 00:34:42,366 okay so now the fun bit where 722 00:34:42,733 --> 00:34:44,133 with the tweezers 723 00:34:44,333 --> 00:34:48,666 I remove these pieces of lacquer resist 724 00:34:49,266 --> 00:34:50,933 but first oh yeah that's right 725 00:34:50,933 --> 00:34:52,099 I'm going to do this first 726 00:34:52,100 --> 00:34:54,500 and then I'm going to do a tiny bit of scruvito 727 00:34:54,866 --> 00:34:55,999 so there we go 728 00:34:57,133 --> 00:34:58,866 just have the piece of paper nearby 729 00:34:58,866 --> 00:35:01,699 so that you can just dump the lacquer resist on there 730 00:35:03,266 --> 00:35:05,499 it's a really quick process here 731 00:35:08,500 --> 00:35:11,266 I meant to say that when you're sponging over 732 00:35:11,466 --> 00:35:13,333 don't go over for too long 733 00:35:13,333 --> 00:35:13,999 because otherwise 734 00:35:14,000 --> 00:35:16,600 you'll begin to dissolve the lacquer resist 735 00:35:16,733 --> 00:35:19,533 and it will start to come away on the sponge 736 00:35:20,366 --> 00:35:23,199 so there we've got five butterflies 737 00:35:23,600 --> 00:35:24,400 and then 738 00:35:24,733 --> 00:35:29,066 with the scrafito tool which is just a cocktail stick 739 00:35:29,266 --> 00:35:30,599 dental stick 740 00:35:31,533 --> 00:35:34,099 toothpick depending on which country you're in 741 00:35:34,200 --> 00:35:36,866 you can go over this and 742 00:35:37,866 --> 00:35:38,666 there 743 00:35:39,700 --> 00:35:41,200 put the little antennae on 744 00:35:41,600 --> 00:35:42,900 while the paint sweat 745 00:35:42,900 --> 00:35:44,900 now you could wait until it's dry 746 00:35:45,000 --> 00:35:47,666 but the paint might tend to flake a bit 747 00:35:48,133 --> 00:35:49,333 if you do that 748 00:35:53,733 --> 00:35:54,933 there's another one 749 00:36:12,700 --> 00:36:15,600 and if the paint floods back in then 750 00:36:15,933 --> 00:36:18,199 you just need to go over it a little bit more 751 00:36:19,700 --> 00:36:21,066 and if you were 752 00:36:22,166 --> 00:36:24,733 really tidy you get a brush and 753 00:36:25,366 --> 00:36:28,333 just take that out with the paintbrush 754 00:36:28,733 --> 00:36:29,899 to remove it 755 00:36:30,966 --> 00:36:32,266 a little bit bigger 756 00:36:32,466 --> 00:36:35,899 and if any of the paint from the lacquer resist 757 00:36:36,066 --> 00:36:39,699 has fallen into the butterfly making a Mark 758 00:36:39,900 --> 00:36:43,366 don't worry because you can just use a damp paintbrush 759 00:36:43,766 --> 00:36:44,699 to pick it up 760 00:36:45,566 --> 00:36:46,499 and get rid of it 761 00:36:46,500 --> 00:36:49,333 so tidying everything up before the firing 762 00:36:49,466 --> 00:36:51,366 it's really well worthwhile 763 00:36:51,733 --> 00:36:53,666 after the firing it's fixed 764 00:36:54,066 --> 00:36:56,599 now I spot here and you might find this 765 00:36:56,600 --> 00:36:58,766 that there's a little bit of dust or something 766 00:36:58,866 --> 00:37:02,366 so just lift that up with the tip of the brush 767 00:37:02,366 --> 00:37:04,499 and then you can patch in later 768 00:37:05,966 --> 00:37:07,399 with the sponge 769 00:37:09,933 --> 00:37:12,533 there or you could do this with a paintbrush 770 00:37:12,766 --> 00:37:14,366 if it's a bit fiddly 771 00:37:16,733 --> 00:37:18,866 so that's ready to file 772 00:37:20,133 --> 00:37:22,299 now because I've got the enamel on 773 00:37:22,300 --> 00:37:24,300 this piece of cardboard supported there 774 00:37:24,300 --> 00:37:26,366 it's a lot better than trying to pick it up now 775 00:37:26,366 --> 00:37:27,499 because you can imagine 776 00:37:27,533 --> 00:37:29,066 that pinching the edges 777 00:37:29,066 --> 00:37:31,533 you get lots of little marks down the side 778 00:37:31,533 --> 00:37:32,933 revealing the white again 779 00:37:33,166 --> 00:37:36,866 but pick it up like this and taking across to the Kiln 780 00:37:36,866 --> 00:37:37,766 it's ideal 781 00:37:38,466 --> 00:37:40,899 so it just needs a little bit of cardboard there 782 00:37:44,166 --> 00:37:47,733 so it's here that I take it off the cardboard 783 00:37:48,966 --> 00:37:52,799 and I know that there's the tack underneath 784 00:37:53,000 --> 00:37:56,700 and I get that onto this titanium mesh that I'm using 785 00:37:56,700 --> 00:37:58,000 because it doesn't leave any 786 00:37:58,866 --> 00:38:00,933 any oxide specks 787 00:38:01,066 --> 00:38:02,566 and then on the back 788 00:38:02,733 --> 00:38:05,899 I'm just going to remove that little bit of tack 789 00:38:05,900 --> 00:38:08,066 so that I'm not touching the plaque at all 790 00:38:09,266 --> 00:38:12,533 but if you've got a really gentle sort of grip 791 00:38:12,666 --> 00:38:14,299 like hardly gripping at all 792 00:38:14,666 --> 00:38:17,899 then it'll be fine just taking it at the edges 793 00:38:17,900 --> 00:38:21,000 but I'm just showing what usual people would be doing 794 00:38:21,600 --> 00:38:25,100 so here first thing is that the 795 00:38:25,600 --> 00:38:28,566 piece needs drying in the Kiln before you fire it 796 00:38:28,566 --> 00:38:30,699 because if you put it straight in now 797 00:38:30,933 --> 00:38:32,766 it would spit off the paint 798 00:38:32,766 --> 00:38:36,366 the fact that the Unimedia would be producing steam 799 00:38:36,366 --> 00:38:38,266 and that would spit off the paint 800 00:38:38,400 --> 00:38:40,733 so whatever the medium you're using 801 00:38:40,733 --> 00:38:42,666 you have to dry the enamel first 802 00:38:42,666 --> 00:38:43,899 at the mouth of the kill 803 00:38:44,733 --> 00:38:46,933 and you have to keep it absolutely horizontal 804 00:38:47,466 --> 00:38:49,199 I normally use these 805 00:38:49,200 --> 00:38:52,933 ceramic fiberboards that are covered with clay slip 806 00:38:53,466 --> 00:38:55,666 and once it's on there 807 00:38:55,666 --> 00:38:58,499 it's really steady it doesn't slide about 808 00:38:58,733 --> 00:39:01,499 I think most of you have some mesh 809 00:39:01,500 --> 00:39:02,933 of some sort or another 810 00:39:03,300 --> 00:39:06,100 but it's not a good idea to use these 811 00:39:06,300 --> 00:39:08,866 these ones because the stainless steel 812 00:39:08,866 --> 00:39:11,099 produces so much metal oxide 813 00:39:11,133 --> 00:39:12,533 is just not worth it 814 00:39:12,533 --> 00:39:15,799 that any of that may come on top of the painting 815 00:39:15,800 --> 00:39:17,400 and spoil the paint 816 00:39:17,533 --> 00:39:18,933 during the firing 817 00:39:19,533 --> 00:39:22,899 so I think having shown you the titanium mesh 818 00:39:23,066 --> 00:39:26,099 I'm going to go back to my tried and tested method 819 00:39:26,266 --> 00:39:29,299 which is to use the ceramic fiber board 820 00:39:29,466 --> 00:39:32,133 takes a little bit longer to heat up 821 00:39:33,100 --> 00:39:34,533 because it's thicker 822 00:39:34,866 --> 00:39:38,499 the titanium mesh will give you a quick result 823 00:39:38,766 --> 00:39:41,666 and the ceramic fiber board 824 00:39:41,666 --> 00:39:44,166 it will stick to the back for a little bit 825 00:39:44,500 --> 00:39:48,200 but after about minute and a half it pins away 826 00:39:48,200 --> 00:39:49,966 and then it cools down 827 00:39:49,966 --> 00:39:52,399 and you can help the cooling by putting it onto 828 00:39:52,533 --> 00:39:53,733 a steel block 829 00:39:55,366 --> 00:39:58,799 I've got the Kiln set out about 770 830 00:39:59,200 --> 00:40:02,400 there and the firing temperature is going to be 7 831 00:40:02,866 --> 00:40:06,533 50 1382 but it's good if it's a little bit higher 832 00:40:06,533 --> 00:40:08,266 because in taking something 833 00:40:08,266 --> 00:40:10,866 out of the Kiln it drops temperature 834 00:40:11,000 --> 00:40:12,600 opening the door and sell on 835 00:40:12,900 --> 00:40:16,533 now I've put a piece of ceramic fiber board in there 836 00:40:16,533 --> 00:40:18,366 it's quite good if you leave it in there 837 00:40:18,366 --> 00:40:20,133 because it's lovely and hot 838 00:40:20,600 --> 00:40:23,200 and what you can do is 839 00:40:23,200 --> 00:40:28,333 transfer your painting across to the piece of heated 840 00:40:28,533 --> 00:40:30,599 ceramic fiber board and that will 841 00:40:30,866 --> 00:40:32,199 quicken the firing 842 00:40:32,333 --> 00:40:35,499 so there it is and I'm going to show you this 843 00:40:35,700 --> 00:40:39,733 Unimedia steaming shortly drying off 844 00:40:42,400 --> 00:40:44,266 I've got s vessels fingers here 845 00:40:44,466 --> 00:40:46,266 that use the butter knives 846 00:40:46,266 --> 00:40:48,566 these are really good for supporting 847 00:40:49,533 --> 00:40:51,799 and now I'm shifting it around 848 00:40:52,566 --> 00:40:54,566 so here you can see the steam rising 849 00:40:54,566 --> 00:40:56,299 I hope you can against the black 850 00:40:56,533 --> 00:40:58,599 just lost it coming off there 851 00:40:59,100 --> 00:41:01,533 and it goes pastel in shade 852 00:41:01,866 --> 00:41:04,499 so it's no longer glossy like the paint was 853 00:41:04,733 --> 00:41:07,199 I'm gonna put it in the Kiln now 854 00:41:07,200 --> 00:41:09,733 because there's no risk of any of the paint being 855 00:41:09,800 --> 00:41:10,733 spacked off 856 00:41:11,366 --> 00:41:12,466 and I'm using 857 00:41:12,500 --> 00:41:15,400 a cape slice here to put it to the back of the Kiln 858 00:41:15,400 --> 00:41:16,500 where it's hottest 859 00:41:16,933 --> 00:41:18,899 and shut the door quickly 860 00:41:20,200 --> 00:41:21,966 so it's got down to about 861 00:41:22,500 --> 00:41:24,666 703 and it's going to drop a bit more 862 00:41:24,666 --> 00:41:26,399 so you want it in the top 863 00:41:26,900 --> 00:41:28,466 6 90s roughly 864 00:41:28,600 --> 00:41:31,500 and after a while it begins to climb again 865 00:41:32,200 --> 00:41:36,800 and it's a case of watching the digital pyrometer 866 00:41:36,900 --> 00:41:38,766 rather than watching your watch 867 00:41:39,000 --> 00:41:40,600 and definitely don't look 868 00:41:40,766 --> 00:41:43,533 into the Kiln because that's got infrared rays 869 00:41:43,533 --> 00:41:46,199 and that's where I'm wearing the blue glasses 870 00:41:46,200 --> 00:41:47,866 to protect my eyes 871 00:41:48,400 --> 00:41:50,566 it makes it a little bit more difficult 872 00:41:50,566 --> 00:41:53,066 to see whether the pieces fired or not 873 00:41:53,166 --> 00:41:55,666 so if you really don't like wearing the blue glasses 874 00:41:55,666 --> 00:41:57,199 you can just glimpse 875 00:41:57,800 --> 00:41:59,866 kind of like that just to see 876 00:41:59,866 --> 00:42:03,899 but when you reach that magic figure of 7 50 877 00:42:04,566 --> 00:42:07,766 that's when to open the Kiln door and check is it shiny 878 00:42:07,766 --> 00:42:09,066 glossy all over 879 00:42:09,266 --> 00:42:11,333 so while we're waiting for that to climb 880 00:42:11,666 --> 00:42:13,499 I'm just going to show you 881 00:42:13,766 --> 00:42:16,166 the first of a series of tiles 882 00:42:16,166 --> 00:42:18,299 might be able to manage the whole thing 883 00:42:18,700 --> 00:42:22,066 so this these are little test pieces on copper 884 00:42:22,966 --> 00:42:25,266 and I just put on a basic white 885 00:42:25,266 --> 00:42:27,799 like dial white which is a hard one 886 00:42:28,000 --> 00:42:30,100 and I painted up the four 887 00:42:30,600 --> 00:42:31,800 primary colors 888 00:42:31,866 --> 00:42:34,366 and you can see that this is a best result 889 00:42:34,466 --> 00:42:36,699 because it's glossy 890 00:42:36,800 --> 00:42:39,900 and the paint has just sunk into the enamel 891 00:42:39,900 --> 00:42:43,066 that's the beauty of it painting in enamel 892 00:42:43,500 --> 00:42:46,800 but here the paint sits proud on the surface 893 00:42:46,800 --> 00:42:48,133 and it's match 894 00:42:48,533 --> 00:42:51,333 so what's happened here is that it hasn't fired 895 00:42:51,333 --> 00:42:54,133 completely hasn't been in the Kiln for long enough 896 00:42:54,200 --> 00:42:56,566 and the good thing is you can put it back in 897 00:42:56,566 --> 00:42:58,066 and it will go glossy 898 00:42:58,933 --> 00:43:01,466 now here the problem is that the 899 00:43:01,466 --> 00:43:03,599 enamel was in the Kiln far too long 900 00:43:03,666 --> 00:43:05,933 and what's happened is it's gone Lacey 901 00:43:06,166 --> 00:43:10,266 the paint has dropped into the white far too far 902 00:43:10,400 --> 00:43:12,533 and it can't be recovered 903 00:43:12,733 --> 00:43:15,999 so I'm afraid that laceiness will shine through 904 00:43:16,066 --> 00:43:17,499 every subsequent layer 905 00:43:18,300 --> 00:43:21,700 here the paint was too thick in different areas 906 00:43:21,700 --> 00:43:23,533 it wasn't dried properly 907 00:43:23,700 --> 00:43:27,066 it came off and same with this one 908 00:43:27,866 --> 00:43:29,566 for various reasons 909 00:43:30,700 --> 00:43:34,066 the paint just came off in the firing 910 00:43:36,466 --> 00:43:39,499 and this one there was a little hair that actually 911 00:43:39,500 --> 00:43:40,866 actually like a sponge 912 00:43:41,066 --> 00:43:42,199 and it 913 00:43:42,400 --> 00:43:45,666 took all the paint into it and it wasn't noticeable 914 00:43:45,800 --> 00:43:47,866 in the painting but when it was fired 915 00:43:48,000 --> 00:43:49,700 the hair disappeared 916 00:43:49,700 --> 00:43:52,566 it burnt out but it left that clog of paint 917 00:43:53,400 --> 00:43:56,000 so we're now going to take this out 918 00:43:57,900 --> 00:44:01,600 just seeing that it has risen to 7 53 919 00:44:02,333 --> 00:44:04,599 and just see it isn't fired 920 00:44:05,900 --> 00:44:07,566 some pretty good 921 00:44:07,566 --> 00:44:09,199 it's got that glossy look 922 00:44:10,366 --> 00:44:12,599 and that's just right for the next 923 00:44:13,166 --> 00:44:17,333 next layer so I'm going to lay that down unless it cool 924 00:44:18,500 --> 00:44:20,666 and if you've got a light over 925 00:44:20,666 --> 00:44:22,133 that's the best way 926 00:44:22,166 --> 00:44:24,966 to check whether the enamel is fired 927 00:44:24,966 --> 00:44:28,766 because under the light you can see that it's glossy 928 00:44:29,566 --> 00:44:31,299 so you could just have a little lamp 929 00:44:31,300 --> 00:44:32,966 if you haven't got an overhead light 930 00:44:33,200 --> 00:44:35,200 it's good to have an extractor fan 931 00:44:35,200 --> 00:44:36,766 or have the windows open 932 00:44:37,000 --> 00:44:39,766 so that any odors are just taken away 933 00:44:39,766 --> 00:44:42,399 because these are slightly poisonous gases 934 00:44:42,666 --> 00:44:44,966 and you just want to protect yourself as much as 935 00:44:44,966 --> 00:44:45,766 possible 936 00:44:46,000 --> 00:44:48,333 so I've got the extractive farm off at the moment 937 00:44:48,333 --> 00:44:50,133 but we've got the windows wide open 938 00:44:50,800 --> 00:44:52,500 there are the last two tiles 939 00:44:52,700 --> 00:44:54,566 in the troubleshooting section 940 00:44:54,566 --> 00:44:56,366 which I've got at the back of the book 941 00:44:56,533 --> 00:44:59,499 show a piece of this metal oxide 942 00:44:59,600 --> 00:45:02,766 that you get when you use stainless steel tributes 943 00:45:03,166 --> 00:45:07,099 and it spoiled the work by landing on the red there 944 00:45:07,466 --> 00:45:10,499 and the only thing that would take that out would be 945 00:45:10,500 --> 00:45:11,766 a diamond point 946 00:45:12,500 --> 00:45:15,166 so this is a little bit of steel that's got 947 00:45:16,133 --> 00:45:17,899 diamonds stuck on the end 948 00:45:17,900 --> 00:45:19,000 that means just 949 00:45:19,300 --> 00:45:20,566 grit of diamond 950 00:45:20,566 --> 00:45:21,733 not real diamond 951 00:45:21,733 --> 00:45:24,199 but it is real diamond but grish of diamond 952 00:45:24,200 --> 00:45:25,533 so inexpensive 953 00:45:25,600 --> 00:45:27,266 and the anyway is to scratch that out 954 00:45:27,266 --> 00:45:29,366 and then you reveal the white base and 955 00:45:29,366 --> 00:45:30,899 oh it's such a fiddle and a mess 956 00:45:30,900 --> 00:45:33,700 so try and avoid any impurities 957 00:45:33,866 --> 00:45:37,399 by firing on something like this ceramic fiber board 958 00:45:39,366 --> 00:45:41,066 and the final one 959 00:45:41,166 --> 00:45:43,199 is where the tile 960 00:45:43,266 --> 00:45:44,666 has discolored slightly 961 00:45:44,666 --> 00:45:46,733 so the red isn't pure any longer 962 00:45:46,733 --> 00:45:48,899 and that was because either the solvent 963 00:45:48,900 --> 00:45:51,733 the water or the zest it or whatever you've used 964 00:45:51,966 --> 00:45:55,066 wasn't clean and it wasn't changed regularly 965 00:45:55,333 --> 00:45:57,166 and the paintended up murky 966 00:45:57,166 --> 00:45:59,899 or the paint itself had got impurities in it 967 00:45:59,900 --> 00:46:01,666 and changed color slightly 968 00:46:03,133 --> 00:46:05,466 so some people ask about this 969 00:46:05,966 --> 00:46:07,166 ceramic fiberboard 970 00:46:07,166 --> 00:46:08,666 I mentioned that 971 00:46:08,700 --> 00:46:11,566 the enamel sticks to it to start with 972 00:46:11,566 --> 00:46:13,899 and then it comes away of its own accord 973 00:46:14,766 --> 00:46:17,399 as the metal and glass contract 974 00:46:17,566 --> 00:46:20,399 and then you can lay it down onto a cooling block 975 00:46:20,400 --> 00:46:21,766 like a block of steel 976 00:46:21,766 --> 00:46:23,533 or onto the marble there 977 00:46:24,100 --> 00:46:25,933 but the ceramic fiber board 978 00:46:25,933 --> 00:46:29,733 it gives it longer life if you paint it up with 979 00:46:29,800 --> 00:46:32,600 something like Kiln wash or clay slip 980 00:46:32,600 --> 00:46:33,400 I've used here 981 00:46:33,400 --> 00:46:36,333 so I get clay slip from Potter Pottery friend 982 00:46:36,933 --> 00:46:40,499 and then I mix up with some water 983 00:46:40,900 --> 00:46:43,566 until it looks like a very thick double cream 984 00:46:43,766 --> 00:46:45,933 and then paint it on with a pastry brush 985 00:46:46,000 --> 00:46:48,200 and that will lengthen the life of it 986 00:46:48,466 --> 00:46:51,899 and on the back it's got some little marks where 987 00:46:52,066 --> 00:46:53,566 the clay slip has broken down 988 00:46:53,566 --> 00:46:55,666 where I just need to touch that up and then 989 00:46:56,166 --> 00:46:59,699 put that onto the Kiln to dry and then in the Kiln 990 00:46:59,900 --> 00:47:01,066 to cure 991 00:47:01,066 --> 00:47:04,133 and then I've got a long lasting piece of cyberboard 992 00:47:04,133 --> 00:47:05,599 which is about that thick 993 00:47:07,466 --> 00:47:11,133 the next phase is to do some pen work 994 00:47:11,400 --> 00:47:14,900 it's another technique that I Learned from ceramicists 995 00:47:15,066 --> 00:47:18,533 and this is where you use a different medium called 996 00:47:19,166 --> 00:47:20,599 well it's called pen oil obviously 997 00:47:20,600 --> 00:47:24,766 but it's a mix or cupaba oil and an a seed oil 998 00:47:25,200 --> 00:47:26,800 three parts to one 999 00:47:26,800 --> 00:47:29,933 so three parts could paper to one part 1000 00:47:29,933 --> 00:47:32,599 an a seed smells absolutely gorgeous 1001 00:47:32,600 --> 00:47:34,333 if you like the smell of an a seed 1002 00:47:34,533 --> 00:47:36,133 yep that's it 1003 00:47:36,333 --> 00:47:38,099 and you'll take 1004 00:47:38,700 --> 00:47:41,733 a little oil and put it down there 1005 00:47:43,400 --> 00:47:45,333 and then to that you can mix 1006 00:47:45,866 --> 00:47:49,933 any of your paints or a paint mix so virtually 1007 00:47:50,733 --> 00:47:51,866 all of these colors 1008 00:47:51,866 --> 00:47:54,799 and more if you were to mix three colors together 1009 00:47:54,966 --> 00:47:56,866 can be achieved as a pen line 1010 00:47:56,966 --> 00:47:57,666 but for this 1011 00:47:57,666 --> 00:48:00,399 I'm going to show you one of my favorite colors 1012 00:48:00,666 --> 00:48:04,199 which is mixed from purple 1013 00:48:04,866 --> 00:48:11,733 and linui so it's the darkest colors and reed green 1014 00:48:12,100 --> 00:48:15,933 and these three colors make a purple black 1015 00:48:16,933 --> 00:48:18,866 better than real black 1016 00:48:18,866 --> 00:48:21,533 which is really quite deadening for things 1017 00:48:22,666 --> 00:48:24,933 so you can mix it like this 1018 00:48:25,333 --> 00:48:29,099 or in a separate little pot if it's your favorite color 1019 00:48:29,566 --> 00:48:30,899 you could mix up 1020 00:48:31,400 --> 00:48:32,666 enough for future use 1021 00:48:32,666 --> 00:48:35,199 so I'm gonna put in a load like that 1022 00:48:35,766 --> 00:48:38,699 and this pot is going to be great black 1023 00:48:39,700 --> 00:48:42,800 so you'll mix them in equal proportions 1024 00:48:43,600 --> 00:48:45,966 so a little bit of the blue 1025 00:48:47,600 --> 00:48:51,100 just there and if you want you can make it more blue 1026 00:48:51,266 --> 00:48:54,199 or you could make it more green depending on 1027 00:48:54,366 --> 00:48:56,066 how much of each color you add 1028 00:48:56,400 --> 00:48:57,866 but it's roughly 1029 00:48:58,300 --> 00:49:00,900 three separate parts 1030 00:49:01,066 --> 00:49:02,766 a third a third and a third 1031 00:49:03,600 --> 00:49:05,400 and then the reed green 1032 00:49:08,000 --> 00:49:09,900 a little touch here and 1033 00:49:10,066 --> 00:49:12,899 there's a little balls of color that need grinding 1034 00:49:14,100 --> 00:49:17,133 just get it about the same as the others there 1035 00:49:17,566 --> 00:49:19,799 and then a dump of it there 1036 00:49:23,766 --> 00:49:25,799 so these paints are available as 1037 00:49:25,800 --> 00:49:27,900 professional colors as well 1038 00:49:27,900 --> 00:49:30,866 and you've got a much much bigger range 1039 00:49:31,000 --> 00:49:32,700 but what they tend to do 1040 00:49:32,700 --> 00:49:35,333 to create a baby blue or something 1041 00:49:35,333 --> 00:49:39,166 they mix say four parts white to one part 1042 00:49:39,333 --> 00:49:44,299 else you're and as I'm doing here you can mix your own 1043 00:49:45,066 --> 00:49:46,566 so you put the lid on 1044 00:49:46,566 --> 00:49:49,166 and let's just give it a good shake 1045 00:49:50,533 --> 00:49:53,066 and there it is in the dry form 1046 00:49:53,066 --> 00:49:54,799 this is going to be the great black 1047 00:49:54,800 --> 00:49:57,133 so I'm going to mix up some ink 1048 00:49:57,133 --> 00:50:00,333 now I've got the capable oil here 1049 00:50:00,333 --> 00:50:01,966 just going to introduce it 1050 00:50:02,266 --> 00:50:05,566 and different from the paint it's got to flow more 1051 00:50:06,933 --> 00:50:11,199 so it's got to be able to run down the nib of a pen 1052 00:50:11,500 --> 00:50:14,466 so it needs more oil 1053 00:50:15,366 --> 00:50:18,133 just use a little spill or a stick or something 1054 00:50:19,666 --> 00:50:20,799 mix that in 1055 00:50:21,533 --> 00:50:23,366 and again blend it really well 1056 00:50:23,366 --> 00:50:25,866 so that you're breaking down the balls of paint 1057 00:50:25,866 --> 00:50:26,299 otherwise 1058 00:50:26,300 --> 00:50:28,566 they are not going to flow down the paint lip 1059 00:50:30,133 --> 00:50:31,199 there we are 1060 00:50:32,600 --> 00:50:35,333 if it's too runny it will blob 1061 00:50:36,066 --> 00:50:38,399 we'll try that and just see 1062 00:50:38,933 --> 00:50:40,766 this is a Nico pen 1063 00:50:41,466 --> 00:50:44,699 which I really recommend and I bought this one in Japan 1064 00:50:44,966 --> 00:50:47,366 and you can find it online or 1065 00:50:47,766 --> 00:50:50,799 jewelry with gems supply them in USA 1066 00:50:51,100 --> 00:50:54,466 that's a very good website for enable painting supplies 1067 00:50:54,700 --> 00:50:56,666 and that's with Zinep Harvey 1068 00:50:57,566 --> 00:51:01,266 so you've loaded it up to the split in the pen 1069 00:51:01,400 --> 00:51:03,700 and then just practice a little bit there 1070 00:51:03,933 --> 00:51:06,933 and it just comes off the pen beautifully 1071 00:51:07,166 --> 00:51:08,999 so that's ready to go 1072 00:51:09,133 --> 00:51:12,299 but first of all you need to prepare the plaque 1073 00:51:12,533 --> 00:51:12,866 and it's 1074 00:51:12,866 --> 00:51:14,999 then you're going to be the upper part for this 1075 00:51:15,133 --> 00:51:16,533 detailed butterfly 1076 00:51:16,533 --> 00:51:20,399 so I'm going to roll the clay on the upper part here 1077 00:51:21,566 --> 00:51:23,666 and transfer the image 1078 00:51:26,000 --> 00:51:29,300 and just get the little detailed decoration here 1079 00:51:38,566 --> 00:51:40,366 and I just need this 1080 00:51:41,900 --> 00:51:43,533 it's personal preference 1081 00:51:43,533 --> 00:51:46,333 just how much you go round with pen line 1082 00:51:46,866 --> 00:51:49,599 and I'm just using this particular color 1083 00:51:50,133 --> 00:51:52,799 because I love it so much in portraits 1084 00:51:52,800 --> 00:51:56,300 it's just great to use it for dark hair 1085 00:51:56,700 --> 00:51:57,966 if you use black 1086 00:51:58,499 --> 00:52:01,499 for eyelashes it looks like makeup on a child 1087 00:52:01,699 --> 00:52:05,066 so much better to use this great black instead 1088 00:52:05,999 --> 00:52:08,999 and it makes a fantastic background as well 1089 00:52:09,300 --> 00:52:11,333 rather than deadening black 1090 00:52:13,600 --> 00:52:16,300 so that should have transferred there 1091 00:52:16,600 --> 00:52:18,533 now if you're not confident 1092 00:52:18,533 --> 00:52:20,866 you could fire that pencil in the Kiln 1093 00:52:21,100 --> 00:52:25,100 and then go over the pencil line with the pen 1094 00:52:25,133 --> 00:52:27,066 knowing that if you make a mistake 1095 00:52:27,066 --> 00:52:28,533 you could go back over it 1096 00:52:28,966 --> 00:52:30,599 but because the 1097 00:52:30,666 --> 00:52:33,999 clay is greasy and because the oil is oily 1098 00:52:34,000 --> 00:52:35,266 they're compatible 1099 00:52:35,266 --> 00:52:38,299 and you can actually just draw like that 1100 00:52:38,566 --> 00:52:40,499 and get the detail in 1101 00:52:52,933 --> 00:52:56,733 just like the old pens of the past the dip pens 1102 00:52:56,966 --> 00:52:58,266 it will go for so long 1103 00:52:58,266 --> 00:53:00,099 and then you'll have to load it again 1104 00:53:01,466 --> 00:53:02,933 using the spatula 1105 00:53:03,500 --> 00:53:04,700 and again it's on 1106 00:53:04,700 --> 00:53:08,000 this card said that you can turn the card to work 1107 00:53:09,399 --> 00:53:13,066 and pull the pen towards you to get the lines 1108 00:53:13,533 --> 00:53:15,299 if something blobs 1109 00:53:15,300 --> 00:53:18,400 then there are two ways of removing it 1110 00:53:18,566 --> 00:53:21,933 either while it's wet but that may smear 1111 00:53:22,000 --> 00:53:23,566 so that wouldn't be a good idea 1112 00:53:23,766 --> 00:53:27,266 or wait until it's dried and then just scratch it off 1113 00:53:27,266 --> 00:53:28,533 like scrafito 1114 00:53:34,300 --> 00:53:36,366 pretty well did nearly the whole thing 1115 00:53:36,366 --> 00:53:38,399 so just load a bit more 1116 00:53:38,566 --> 00:53:40,166 try it on here first 1117 00:53:40,166 --> 00:53:42,333 because the first one is gonna blob 1118 00:53:42,966 --> 00:53:44,499 because there's rather a lot of 1119 00:53:45,333 --> 00:53:46,566 ink there 1120 00:53:54,100 --> 00:53:56,166 I think I've lost the symmetry a bit there 1121 00:53:56,166 --> 00:53:58,366 so just pop that one in 1122 00:54:02,800 --> 00:54:05,366 and then I think I'll be the body as well 1123 00:54:10,900 --> 00:54:11,700 there 1124 00:54:13,700 --> 00:54:14,066 now 1125 00:54:14,066 --> 00:54:17,133 you're aware of how many firings it's going to take 1126 00:54:17,133 --> 00:54:17,899 on this piece 1127 00:54:17,900 --> 00:54:21,333 so I've got pen line for the detail there 1128 00:54:21,333 --> 00:54:24,933 but I've also got pen for doing some handwriting 1129 00:54:25,400 --> 00:54:27,666 and that's the beauty of this pen oil 1130 00:54:27,766 --> 00:54:29,266 it's very versatile 1131 00:54:29,266 --> 00:54:31,966 and you could write a poem or something 1132 00:54:32,100 --> 00:54:33,966 but I've got my little phrase 1133 00:54:34,066 --> 00:54:38,099 your wings already exist all you have to do is fly 1134 00:54:38,500 --> 00:54:39,533 which I think 1135 00:54:39,966 --> 00:54:41,999 applies to most things in life 1136 00:54:43,133 --> 00:54:45,666 now for this I'm going to use a ruler 1137 00:54:45,666 --> 00:54:49,399 and I'm just going to lay down some pencil lines 1138 00:54:49,666 --> 00:54:50,966 without using the clay 1139 00:54:50,966 --> 00:54:53,199 because I don't want the lines to fire them 1140 00:54:53,399 --> 00:54:54,933 I don't want to fire them on 1141 00:54:54,966 --> 00:54:57,566 I just want them to be a guide for the moment 1142 00:54:58,533 --> 00:55:02,933 so let's get the ruler level and just run through there 1143 00:55:02,933 --> 00:55:04,799 say that my eye can see it 1144 00:55:04,966 --> 00:55:07,499 and this should burn out in the Kiln 1145 00:55:14,166 --> 00:55:15,866 so that's to there 1146 00:55:19,000 --> 00:55:20,933 try the pen here first 1147 00:55:20,966 --> 00:55:22,766 yep just get it flowing again 1148 00:55:22,966 --> 00:55:23,999 it's obviously going to 1149 00:55:24,066 --> 00:55:27,466 dry these paints whatever your ambient temperature 1150 00:55:27,466 --> 00:55:29,799 if you're working in hottest Australia 1151 00:55:30,166 --> 00:55:32,933 or up in the Arctic it's going to be 1152 00:55:33,266 --> 00:55:36,166 varying rates of evaporation 1153 00:55:36,666 --> 00:55:38,499 and you can also put the paints 1154 00:55:38,500 --> 00:55:41,266 into the fridge to just slow down evaporation 1155 00:55:41,266 --> 00:55:42,466 that's a good idea 1156 00:55:46,966 --> 00:55:49,399 so I'm just going to do some free hand 1157 00:55:49,800 --> 00:55:52,766 you could have mapped it out in pencil 1158 00:56:20,700 --> 00:56:23,100 and being a perfectionist I should have 1159 00:56:23,400 --> 00:56:26,100 perhaps allowed a little bit more space there 1160 00:56:26,400 --> 00:56:27,200 but 1161 00:56:28,000 --> 00:56:29,166 let's press on 1162 00:56:35,933 --> 00:56:38,333 and if you get it all wrong you're not happy with it 1163 00:56:38,333 --> 00:56:41,666 just wipe it off this lower part with a piece of 1164 00:56:41,966 --> 00:56:43,466 kitchen roll or something 1165 00:56:44,466 --> 00:56:48,466 cotton hanky and just start again 1166 00:56:58,900 --> 00:57:02,000 and it's just run out just at that point but never mind 1167 00:57:02,533 --> 00:57:05,299 slowed it up get it flowing again 1168 00:57:10,266 --> 00:57:11,066 okay 1169 00:57:12,200 --> 00:57:15,933 so if anything's a bit thin go back over it now 1170 00:57:17,966 --> 00:57:20,599 yep and so I've got the two together 1171 00:57:20,866 --> 00:57:22,066 and I could have 1172 00:57:22,200 --> 00:57:24,700 turned it around if I hadn't on the butterfly 1173 00:57:24,700 --> 00:57:27,366 now I could turn it around and do it like that 1174 00:57:27,366 --> 00:57:29,399 but it was easier this way round 1175 00:57:29,800 --> 00:57:31,266 so ready to fire 1176 00:57:33,300 --> 00:57:35,133 back at the Kiln now with the piece 1177 00:57:35,133 --> 00:57:37,399 it's possible to handle it at the sides 1178 00:57:37,400 --> 00:57:39,266 because it's not wet paint 1179 00:57:40,100 --> 00:57:42,866 this area is a bit stay clear of 1180 00:57:43,066 --> 00:57:46,166 and this time I'm going to use the titanium mesh 1181 00:57:46,466 --> 00:57:48,366 so it's not going to wobble 1182 00:57:48,366 --> 00:57:50,466 it's just going to be a perfect firing 1183 00:57:50,766 --> 00:57:52,866 now for this you need the Kiln talk 1184 00:57:53,333 --> 00:57:58,733 and it's good if it will cover the width and the depth 1185 00:57:59,800 --> 00:58:01,966 so just gently go 1186 00:58:02,400 --> 00:58:03,666 underneath there 1187 00:58:04,700 --> 00:58:07,600 keep the piece away from the door as you open it 1188 00:58:07,600 --> 00:58:09,500 because then maybe dust come off 1189 00:58:09,733 --> 00:58:12,333 dry it in front of the Kiln 1190 00:58:15,533 --> 00:58:17,566 so into there like that 1191 00:58:17,566 --> 00:58:20,499 and you will get not steam rising but 1192 00:58:21,400 --> 00:58:22,866 oil vapor rising 1193 00:58:22,866 --> 00:58:26,099 as it drives off the capaboronana seed oil 1194 00:58:26,300 --> 00:58:28,666 so it's got to be completely dry 1195 00:58:28,666 --> 00:58:30,333 before it goes into the Kiln 1196 00:58:31,966 --> 00:58:34,533 let's settle it down there and it's gone matte 1197 00:58:34,533 --> 00:58:37,266 say now I'm just gonna present it put it at the back 1198 00:58:38,966 --> 00:58:41,499 and need a spatula 1199 00:58:42,266 --> 00:58:45,066 just to keep it in position and restore the pork 1200 00:58:45,499 --> 00:58:47,366 and it's gone down quite a bit 1201 00:58:47,366 --> 00:58:48,799 so it's got a bit of a climb 1202 00:58:49,200 --> 00:58:51,500 and I wish I'd had a Kiln 1203 00:58:51,600 --> 00:58:54,166 glove on because that was really hot 1204 00:58:56,366 --> 00:58:58,566 so it's got to go back up to 7 1205 00:58:59,166 --> 00:59:01,999 50 1382 for the pen oil 1206 00:59:02,333 --> 00:59:03,933 because it's got the paint in there 1207 00:59:03,933 --> 00:59:05,466 and that's what you're firing 1208 00:59:06,766 --> 00:59:09,933 while waiting for the Kiln temperature to rise 1209 00:59:10,133 --> 00:59:13,133 it's got to come up to 7:50 1382 1210 00:59:13,200 --> 00:59:14,866 I thought it would be interesting to point 1211 00:59:14,866 --> 00:59:16,499 out the poster that I've got here 1212 00:59:16,500 --> 00:59:18,700 of 18th century miniaturists 1213 00:59:18,700 --> 00:59:20,366 enamelers working 1214 00:59:20,566 --> 00:59:23,333 and then they had to use a muffle Kiln 1215 00:59:23,333 --> 00:59:25,933 so it was fueled by charcoal 1216 00:59:26,333 --> 00:59:28,866 and they put the enamel 1217 00:59:28,900 --> 00:59:32,500 into a box which was a metal box that they then put 1218 00:59:32,666 --> 00:59:34,733 into the Kiln 1219 00:59:34,900 --> 00:59:35,466 and 1220 00:59:35,466 --> 00:59:37,799 they didn't know what was happening during the firing 1221 00:59:37,800 --> 00:59:39,666 they couldn't glimpse at it or anything 1222 00:59:41,666 --> 00:59:45,066 and it's just a miracle how they knew 1223 00:59:45,066 --> 00:59:46,499 from the glow of the charcoal 1224 00:59:46,500 --> 00:59:47,800 if it was just right 1225 00:59:48,100 --> 00:59:53,000 so this is now hit just above slightly above 7 50 1226 00:59:53,266 --> 00:59:54,699 and that's fine 1227 00:59:54,966 --> 00:59:58,466 so we just take it out really steadily keeping it 1228 00:59:58,500 --> 00:59:59,866 horizontal 1229 01:00:00,133 --> 01:00:01,599 and with the Kiln glove 1230 01:00:02,333 --> 01:00:05,933 then I'm not feeling the heat like I did before 1231 01:00:06,400 --> 01:00:08,366 so it's changed color 1232 01:00:08,500 --> 01:00:11,333 and not so dramatically as you'd find with 1233 01:00:11,333 --> 01:00:12,933 reds and oranges 1234 01:00:12,933 --> 01:00:16,266 and the fugitive colors like the purple red 1235 01:00:16,499 --> 01:00:20,066 they change dramatically and they go very black 1236 01:00:20,400 --> 01:00:24,100 but the blues in the green stay roughly bluey greeny 1237 01:00:25,333 --> 01:00:29,333 so after a while it will come away from the titanium 1238 01:00:29,333 --> 01:00:30,533 I'm not going to force it 1239 01:00:30,533 --> 01:00:32,766 because what happens if you force it off 1240 01:00:32,966 --> 01:00:33,466 then 1241 01:00:33,466 --> 01:00:37,099 it leaves a little bit of enamel behind on the trivot 1242 01:00:37,200 --> 01:00:38,900 and that's not so good 1243 01:00:38,900 --> 01:00:40,200 so you could hear little 1244 01:00:40,500 --> 01:00:42,533 little pinging noises then 1245 01:00:43,000 --> 01:00:44,733 and if I get the 1246 01:00:45,566 --> 01:00:47,999 spatula underneath there and just give it a little 1247 01:00:48,000 --> 01:00:49,466 tap to help it on 1248 01:00:49,600 --> 01:00:50,700 it comes away 1249 01:00:50,700 --> 01:00:52,166 and I can put it onto 1250 01:00:52,300 --> 01:00:54,700 the steel slab and leave it too cool 1251 01:00:55,100 --> 01:00:57,533 and that will just hasten the cooling a little bit 1252 01:00:58,733 --> 01:01:01,933 here I got a little tile that I did earlier 1253 01:01:01,933 --> 01:01:04,266 and it shows the pen line 1254 01:01:04,666 --> 01:01:06,199 which is actually made from 1255 01:01:06,200 --> 01:01:10,366 you could either use orange and Chestnut mix together 1256 01:01:11,200 --> 01:01:12,400 or you could use 1257 01:01:12,466 --> 01:01:13,933 one of the enamels I've just 1258 01:01:13,933 --> 01:01:16,266 discarded from my general palette 1259 01:01:16,333 --> 01:01:18,133 but it's available from Sunshine 1260 01:01:18,133 --> 01:01:19,899 and it's called Iron Red 1261 01:01:20,200 --> 01:01:23,600 and it's a rather nice color for outlining 1262 01:01:24,000 --> 01:01:27,733 so you would fire the pen as I did before 1263 01:01:27,900 --> 01:01:30,800 and then when you've got the pen outline 1264 01:01:30,800 --> 01:01:33,333 then you can just fill it in with wash 1265 01:01:33,566 --> 01:01:35,966 so you can see it's quite thinly applied 1266 01:01:35,966 --> 01:01:38,166 and then that's just had one firing 1267 01:01:38,166 --> 01:01:39,766 and then you could have several more 1268 01:01:39,766 --> 01:01:41,399 to build up the depth of color 1269 01:01:41,900 --> 01:01:44,666 but the main thing is to work quite thinly 1270 01:01:44,966 --> 01:01:47,866 so that would be the sort of depth that you want 1271 01:01:47,933 --> 01:01:50,366 and okay that's satisfactory in itself 1272 01:01:50,366 --> 01:01:51,999 but the thinner it is 1273 01:01:52,300 --> 01:01:55,100 the better quality if it's a miniature 1274 01:01:55,533 --> 01:01:57,566 so when you're painting a portrait miniature 1275 01:01:57,566 --> 01:01:59,199 it have about seven layers 1276 01:01:59,200 --> 01:02:00,933 like seven layers of skin 1277 01:02:01,466 --> 01:02:03,599 and you can get much more 1278 01:02:03,700 --> 01:02:06,566 three dimensional look to it that way 1279 01:02:07,366 --> 01:02:11,866 so I'm going to demonstrate some painting using 1280 01:02:11,966 --> 01:02:14,766 another of these little tiles which is on steel 1281 01:02:14,933 --> 01:02:17,099 and it's been counter enameled as well 1282 01:02:17,600 --> 01:02:19,133 so factory process 1283 01:02:19,133 --> 01:02:20,366 they spray this on 1284 01:02:20,366 --> 01:02:22,199 probably using all the colors together 1285 01:02:22,200 --> 01:02:23,600 to make the backing 1286 01:02:23,900 --> 01:02:26,333 and they'll then flip it over 1287 01:02:26,966 --> 01:02:29,266 they'll spray on the white as well 1288 01:02:29,399 --> 01:02:31,866 and you could set up a spray booth at home 1289 01:02:31,866 --> 01:02:33,899 but it would be rather expensive I think 1290 01:02:33,899 --> 01:02:37,499 so it's probably better to buy these pre enameled 1291 01:02:38,400 --> 01:02:40,766 so it's got a film of plastic 1292 01:02:40,866 --> 01:02:44,166 over it which prevents it from being scratched 1293 01:02:44,400 --> 01:02:45,933 take that all first 1294 01:02:46,466 --> 01:02:50,066 and then you've got a lovely glossy shiny surface 1295 01:02:50,500 --> 01:02:54,300 but even so I would take some kitchen towel 1296 01:02:54,866 --> 01:02:56,366 and just spit on it 1297 01:02:58,800 --> 01:03:03,300 and wipe over because spit is a wonderful degreaser 1298 01:03:03,866 --> 01:03:05,999 and then the paint will go on easily 1299 01:03:06,333 --> 01:03:09,166 if you've got any finger marks or whatever 1300 01:03:09,333 --> 01:03:10,799 it means that 1301 01:03:11,800 --> 01:03:15,666 it's going to resist any water based paint 1302 01:03:15,900 --> 01:03:18,200 like glycerol or Unimedia 1303 01:03:19,133 --> 01:03:21,966 it'll probably be okay for the oil based ones 1304 01:03:21,966 --> 01:03:24,966 but it's best to make sure it's completely clean 1305 01:03:26,466 --> 01:03:28,533 so I'm just anchoring it there 1306 01:03:29,100 --> 01:03:30,766 without pressing down in the middle 1307 01:03:31,299 --> 01:03:34,166 and then I've got a selection of 1308 01:03:34,400 --> 01:03:36,533 sable brushes here which I love 1309 01:03:36,533 --> 01:03:39,099 the Kalinsky Finest Sable 1310 01:03:39,900 --> 01:03:41,200 by winter in Newton 1311 01:03:41,300 --> 01:03:45,100 but you can find cheaper versions or you can use 1312 01:03:45,200 --> 01:03:47,533 synthetic brushes if you prefer 1313 01:03:47,933 --> 01:03:50,133 but as long as they reach a fine point 1314 01:03:50,166 --> 01:03:51,999 because these Kalinsky Sable 1315 01:03:52,100 --> 01:03:54,600 absolutely beautiful at reaching a fine point 1316 01:03:54,666 --> 01:03:57,733 whereas sometimes the synthetic brush might split 1317 01:03:57,733 --> 01:03:59,866 and that would be really annoying for painting 1318 01:04:00,299 --> 01:04:03,099 I've got one here that I just use for lacca resist 1319 01:04:03,100 --> 01:04:05,066 and so you can see the split in it 1320 01:04:06,000 --> 01:04:08,266 it's probably because I've used it for lacca resist 1321 01:04:08,266 --> 01:04:10,533 it's a lovely brush to use with the grip 1322 01:04:10,800 --> 01:04:13,700 but I just use it for lacca resist 1323 01:04:14,133 --> 01:04:16,866 so with this I've got a number 1324 01:04:17,666 --> 01:04:18,466 0 1325 01:04:18,866 --> 01:04:21,066 a 1 and a 2 1326 01:04:21,866 --> 01:04:23,699 and really that's quite adequate 1327 01:04:23,700 --> 01:04:26,100 you might add a 00 as well 1328 01:04:26,333 --> 01:04:29,666 I use the zero mainly when I'm doing miniturous work 1329 01:04:29,900 --> 01:04:33,333 but for this I'll use the No. 2 brush 1330 01:04:33,333 --> 01:04:36,599 it doesn't get much work so it's going to work now 1331 01:04:37,200 --> 01:04:39,966 I'm going to use Unimedia because it's quick drying 1332 01:04:39,966 --> 01:04:41,899 and we've been using it so far 1333 01:04:42,000 --> 01:04:43,966 I'll be using Bliss Roll later on 1334 01:04:43,966 --> 01:04:46,999 so I'll put some Unimedia down there 1335 01:04:48,000 --> 01:04:50,266 ready to mix with the four 1336 01:04:51,266 --> 01:04:52,866 fugitive colors 1337 01:04:53,200 --> 01:04:54,533 so I've got 1338 01:04:55,266 --> 01:04:58,699 Cardinal Red in the Sunshine Range 1339 01:05:00,266 --> 01:05:03,666 and put a little bit doesn't take a lot 1340 01:05:04,300 --> 01:05:05,200 down there 1341 01:05:06,400 --> 01:05:08,300 and then the orange 1342 01:05:08,400 --> 01:05:09,866 another cabomium color 1343 01:05:19,900 --> 01:05:23,333 then the saradal color the beautiful scarlet rouge 1344 01:05:23,333 --> 01:05:24,133 defer 1345 01:05:37,100 --> 01:05:39,000 put the top back on straight away 1346 01:05:39,733 --> 01:05:42,133 and then this Pupple Red 1347 01:05:42,733 --> 01:05:45,599 which is the one that I used when I was testing 1348 01:05:45,600 --> 01:05:47,200 the different mediums 1349 01:05:48,400 --> 01:05:52,266 so this is the one that tells you whether the base 1350 01:05:52,533 --> 01:05:56,133 is right for and whether the medium is right 1351 01:05:56,133 --> 01:05:58,366 because it should go a beautiful purple red 1352 01:05:58,366 --> 01:05:59,533 if it goes brown 1353 01:06:00,133 --> 01:06:03,299 note that base or that medium won't work 1354 01:06:03,533 --> 01:06:05,133 so I'm gonna mix in 1355 01:06:06,299 --> 01:06:08,666 little bit of the purple 1356 01:06:11,599 --> 01:06:12,999 couple red this is 1357 01:06:16,266 --> 01:06:20,066 and it's blending well and it's actually the idea is to 1358 01:06:20,300 --> 01:06:21,466 mix the paint 1359 01:06:21,566 --> 01:06:23,999 by getting rid of all the little balls of paint 1360 01:06:24,100 --> 01:06:26,166 and get it into a position where 1361 01:06:26,199 --> 01:06:28,999 it will be a pile of paint like that 1362 01:06:29,000 --> 01:06:30,900 you don't want it flooding everywhere 1363 01:06:31,000 --> 01:06:34,300 you can always have medium to it with your brush 1364 01:06:35,766 --> 01:06:37,366 so there we are 1365 01:06:37,366 --> 01:06:38,733 and mix 1366 01:06:39,766 --> 01:06:43,666 mixing means removing the paint from there 1367 01:06:44,600 --> 01:06:46,133 to prepare the next one 1368 01:06:49,066 --> 01:06:51,699 so this time it's going to be 1369 01:06:53,100 --> 01:06:54,566 the slippers of the 1370 01:06:55,333 --> 01:06:56,766 properly rooster fur 1371 01:06:57,766 --> 01:06:59,066 such a pure color 1372 01:06:59,866 --> 01:07:02,199 that you couldn't mix from anything else 1373 01:07:03,900 --> 01:07:08,066 now because these fugitive colors behave strangely 1374 01:07:08,366 --> 01:07:11,533 it can be a good idea to add a little bit of white 1375 01:07:11,700 --> 01:07:14,866 into them and then that supports the firing 1376 01:07:14,866 --> 01:07:17,799 because they've got a lower firing temperature 1377 01:07:17,800 --> 01:07:19,933 or spot on 750 1378 01:07:20,666 --> 01:07:23,199 whereas the blues are very very stable 1379 01:07:23,466 --> 01:07:26,566 and the blues and the blacks takes slightly longer 1380 01:07:26,566 --> 01:07:28,799 too far like white does 1381 01:07:28,900 --> 01:07:30,933 if you add a tiny touch of white 1382 01:07:30,933 --> 01:07:32,533 it will support the firing 1383 01:07:32,533 --> 01:07:34,699 because white is a higher firing 1384 01:07:34,899 --> 01:07:36,799 within the margin of 1385 01:07:37,066 --> 01:07:38,899 you know only up to a sort of 1386 01:07:39,700 --> 01:07:42,500 860 I think these colors can go to 1387 01:07:42,499 --> 01:07:46,133 but I find the paintings it's better to stick at the 1388 01:07:46,466 --> 01:07:49,999 7 50 some people do a high firing 1389 01:07:50,000 --> 01:07:52,300 but my nubs wouldn't stand it 1390 01:07:52,366 --> 01:07:55,066 I think it's better to hit your target 1391 01:07:55,066 --> 01:07:57,199 and then know that you haven't overfired 1392 01:07:57,933 --> 01:08:01,266 so a little bit more unimedict into the orange 1393 01:08:01,333 --> 01:08:02,999 and blend that down 1394 01:08:05,300 --> 01:08:07,566 so that that will make a little pile of color 1395 01:08:07,733 --> 01:08:10,366 and then I'll do this test piece using these 1396 01:08:15,399 --> 01:08:18,066 just gonna get clear of the purple red 1397 01:08:18,866 --> 01:08:20,199 put it down there 1398 01:08:23,300 --> 01:08:24,900 and it's dragging a bit 1399 01:08:24,900 --> 01:08:27,933 so I'm just going to add a touch more of the Unimedia 1400 01:08:28,366 --> 01:08:30,299 and now it's flowing well 1401 01:08:30,733 --> 01:08:32,866 so you don't want your paintbrush dragging 1402 01:08:33,699 --> 01:08:35,866 so that's the orange 1403 01:08:38,333 --> 01:08:39,566 I think some of these colors 1404 01:08:39,566 --> 01:08:41,899 they used to have Mercurian 1405 01:08:41,900 --> 01:08:44,866 and as I was seeing in the Powerpoint presentation 1406 01:08:44,866 --> 01:08:48,366 very very poisonous oxides which 1407 01:08:48,400 --> 01:08:50,166 obviously the factories are gradually 1408 01:08:50,166 --> 01:08:52,333 removing and changing the recipes 1409 01:08:52,799 --> 01:08:54,999 so there may be not quite so bright 1410 01:08:56,966 --> 01:08:59,166 as they were in the 18th century 1411 01:09:01,466 --> 01:09:02,399 they did have a 1412 01:09:02,466 --> 01:09:03,533 beautiful 1413 01:09:03,566 --> 01:09:07,099 pink in the 18th century which you can't achieve today 1414 01:09:11,766 --> 01:09:15,133 alright the final one is the Cabineum red 1415 01:09:21,333 --> 01:09:23,399 I hardly use this a tall really 1416 01:09:24,366 --> 01:09:26,499 I can't use it in flesh tones 1417 01:09:26,499 --> 01:09:28,499 I tend to use the brighter one 1418 01:09:29,466 --> 01:09:30,333 the rooster 1419 01:09:31,400 --> 01:09:32,800 but that's for later 1420 01:09:34,366 --> 01:09:36,733 right got all the colors down 1421 01:09:37,000 --> 01:09:38,500 clean up the palette 1422 01:09:40,800 --> 01:09:42,666 get the Union Media off 1423 01:09:47,866 --> 01:09:49,466 and this is just a basic 1424 01:09:49,600 --> 01:09:52,666 ceramic tile which you could find any size 1425 01:09:54,066 --> 01:09:57,933 okay so I've got my No. 2 brush here 1426 01:09:58,166 --> 01:10:01,533 it's quite nice to have the kitchen towel handy 1427 01:10:01,766 --> 01:10:04,666 so I instinctively wash the brush to start with 1428 01:10:04,933 --> 01:10:08,199 and then roll it into the medium 1429 01:10:08,800 --> 01:10:12,000 and I normally put the solvent first 1430 01:10:12,166 --> 01:10:13,599 and then the medium 1431 01:10:14,166 --> 01:10:15,699 because you're washing your brush first 1432 01:10:15,700 --> 01:10:17,166 and then you go into the 1433 01:10:17,400 --> 01:10:19,466 so this has got uni media in it 1434 01:10:19,566 --> 01:10:22,599 and I'm going to gather up rolling the brush 1435 01:10:22,933 --> 01:10:24,333 into the purple red 1436 01:10:24,566 --> 01:10:25,766 and then at this end 1437 01:10:26,333 --> 01:10:28,266 I'm just going to lay down 1438 01:10:29,066 --> 01:10:30,366 some brush strokes 1439 01:10:30,599 --> 01:10:31,799 and first of all 1440 01:10:32,133 --> 01:10:33,999 I'm just dragging it 1441 01:10:34,000 --> 01:10:35,533 if you can imagine these little 1442 01:10:35,600 --> 01:10:37,933 poly starring balls in there 1443 01:10:38,000 --> 01:10:39,266 little steel balls 1444 01:10:39,400 --> 01:10:42,000 and it's like the brush is like a feather 1445 01:10:43,133 --> 01:10:47,299 and you're just rolling these tiny balls of glass along 1446 01:10:47,966 --> 01:10:50,266 and if you have a gentle touch 1447 01:10:50,266 --> 01:10:53,099 that's the way to get the thinnest sort of paint 1448 01:10:54,800 --> 01:10:56,466 and then the smoothest 1449 01:10:56,500 --> 01:10:59,666 so I'm just stroking the paint here 1450 01:11:00,800 --> 01:11:01,900 into place 1451 01:11:02,733 --> 01:11:04,999 and once I've got an even 1452 01:11:05,566 --> 01:11:07,199 base there then 1453 01:11:07,933 --> 01:11:10,499 I can introduce more paint at the top 1454 01:11:10,800 --> 01:11:15,133 and it's like floating decoration onto a cake icing 1455 01:11:15,400 --> 01:11:18,333 so you've got the base there of the paint 1456 01:11:18,533 --> 01:11:21,699 and just adding more color and drawing that in 1457 01:11:22,066 --> 01:11:22,866 and it's very good 1458 01:11:22,866 --> 01:11:24,533 if you can draw the paint towards you 1459 01:11:24,533 --> 01:11:27,333 it'd be hopeless if you were trying to go across like 1460 01:11:27,333 --> 01:11:30,666 that so again a piece of card really helps that 1461 01:11:32,400 --> 01:11:36,100 so pulling the paint towards you is much more relaxing 1462 01:11:36,566 --> 01:11:38,666 and it's just the very tip of the brush 1463 01:11:38,666 --> 01:11:40,333 that's working for me here 1464 01:11:40,400 --> 01:11:42,766 and I'm drawing it right down 1465 01:11:44,700 --> 01:11:48,200 so from this I've got the tone and the half tone 1466 01:11:48,900 --> 01:11:50,333 and if I kept going 1467 01:11:50,333 --> 01:11:51,766 then it will be thinner and thinner 1468 01:11:51,766 --> 01:11:53,566 until you hardly saw anything 1469 01:11:53,966 --> 01:11:55,499 so wash the brush 1470 01:11:55,966 --> 01:11:58,366 make sure there's no red coming off 1471 01:11:58,366 --> 01:12:01,299 purple red and then put it into the union media 1472 01:12:01,933 --> 01:12:04,466 wipe it again so this is a damp brush 1473 01:12:04,666 --> 01:12:07,533 and I'm going to roll it into this rooster fur 1474 01:12:07,566 --> 01:12:08,766 the scarlet color 1475 01:12:09,100 --> 01:12:11,100 and do the same thing again 1476 01:12:16,666 --> 01:12:20,099 just again stroking the color into place 1477 01:12:24,200 --> 01:12:26,333 making it quite thin down there 1478 01:12:28,500 --> 01:12:32,133 and once I've got that laid then going into the top 1479 01:12:32,966 --> 01:12:36,866 and adding a bit more paint until it's super saturated 1480 01:12:36,866 --> 01:12:39,666 and you wouldn't want to go any thicker than that 1481 01:12:40,533 --> 01:12:41,899 any darker because 1482 01:12:41,933 --> 01:12:44,566 you remember from troubleshooting I showed how 1483 01:12:45,000 --> 01:12:46,500 some of the paint could be 1484 01:12:46,600 --> 01:12:49,066 could just ping off because it's too thick 1485 01:12:49,466 --> 01:12:50,866 so there's another one 1486 01:12:50,900 --> 01:12:52,700 just make it a little bit thicker there 1487 01:12:52,700 --> 01:12:53,500 actually 1488 01:12:53,500 --> 01:12:57,800 it will take it just to show the tone and the half tone 1489 01:12:59,400 --> 01:13:00,200 that's good 1490 01:13:00,800 --> 01:13:03,166 wipe that off and wash it 1491 01:13:03,466 --> 01:13:06,899 into the uni media or whatever medium you're using 1492 01:13:07,400 --> 01:13:10,200 and then just begin to stroke this down 1493 01:13:10,200 --> 01:13:12,366 so that I'm thinning it this time 1494 01:13:13,866 --> 01:13:16,299 now you're adding paint with the brush 1495 01:13:16,400 --> 01:13:19,166 but you can also remove it 1496 01:13:19,166 --> 01:13:22,066 so with a damp brush use it like a mop 1497 01:13:22,300 --> 01:13:24,766 and come down this side here 1498 01:13:25,600 --> 01:13:29,100 and follow it around and the brush does the mopping 1499 01:13:32,733 --> 01:13:34,499 coming down to there 1500 01:13:39,900 --> 01:13:43,166 so it's just instinct now to go into the solvent 1501 01:13:43,300 --> 01:13:47,133 clean it and then into the medium damp brush 1502 01:13:47,166 --> 01:13:48,766 and then do a bit of tidying 1503 01:13:48,966 --> 01:13:51,066 never ever put the solvent 1504 01:13:51,166 --> 01:13:53,133 into the paint or anywhere near it 1505 01:13:53,133 --> 01:13:55,766 just mix medium with paint 1506 01:13:56,766 --> 01:13:58,166 and you won't spoil the work 1507 01:13:58,266 --> 01:14:00,699 so this time it's orange 1508 01:14:02,866 --> 01:14:04,266 and you see how the 1509 01:14:04,266 --> 01:14:06,733 paints are holding their shape on the palette 1510 01:14:06,733 --> 01:14:09,099 so they're not going to flood and go everywhere 1511 01:14:09,100 --> 01:14:11,533 that would be really annoying if they started to flood 1512 01:14:11,533 --> 01:14:12,466 into one another 1513 01:14:15,300 --> 01:14:18,266 and just pulling this around 1514 01:14:21,900 --> 01:14:24,333 and a little bit more at the top 1515 01:14:24,700 --> 01:14:27,200 and then I'll draw it down to make it 1516 01:14:27,300 --> 01:14:28,533 thinner at the bottom 1517 01:14:32,166 --> 01:14:34,966 wiping off into the medium damp brush 1518 01:14:35,266 --> 01:14:38,399 and then bring this down so that I've got the half 1519 01:14:38,400 --> 01:14:40,166 tone more obviously there 1520 01:14:43,700 --> 01:14:45,600 and then with the damp brush 1521 01:14:46,100 --> 01:14:47,366 into the medium 1522 01:14:49,133 --> 01:14:50,999 just work around 1523 01:14:52,133 --> 01:14:54,099 so if I were to put a water 1524 01:14:54,933 --> 01:14:57,299 brush there it would just flood 1525 01:14:57,333 --> 01:15:00,266 the paint and it would go into the water and spoil it 1526 01:15:00,966 --> 01:15:03,766 so that's why it has to be damp 1527 01:15:04,066 --> 01:15:05,799 medium on the brush 1528 01:15:07,733 --> 01:15:09,333 okay so that's come well 1529 01:15:09,733 --> 01:15:13,499 and now it's finally the cabmium 1530 01:15:15,533 --> 01:15:17,866 this lovely deep color here 1531 01:15:23,766 --> 01:15:26,166 and I'm doing this so that in the firing 1532 01:15:26,166 --> 01:15:28,733 you can see dramatic color change 1533 01:15:35,700 --> 01:15:38,300 so I'm working more paint into the top 1534 01:15:38,300 --> 01:15:40,000 so that it's super saturated 1535 01:15:40,000 --> 01:15:41,333 I've got enough there 1536 01:15:42,200 --> 01:15:46,500 and then drawing down the rest to make it the halftone 1537 01:15:56,533 --> 01:15:59,099 so just remember the feather analogy 1538 01:16:01,966 --> 01:16:04,199 and I think steady hand good eye 1539 01:16:10,166 --> 01:16:11,466 perseverance 1540 01:16:14,600 --> 01:16:17,600 and you'll get faster as time goes on 1541 01:16:17,600 --> 01:16:20,733 but just get it correctly done to start with 1542 01:16:21,966 --> 01:16:24,866 okay so we'll fire this in the kill now 1543 01:16:27,266 --> 01:16:28,766 here's the piece still wet 1544 01:16:28,766 --> 01:16:30,966 so the colors are really 1545 01:16:31,133 --> 01:16:33,766 going to look like that when it's fired glossy 1546 01:16:34,900 --> 01:16:37,600 I take it off the cardboard base 1547 01:16:38,200 --> 01:16:41,000 leaving behind a little bit of tacky stuff 1548 01:16:41,366 --> 01:16:43,166 and choose a Pillon fork 1549 01:16:43,266 --> 01:16:47,466 and for a fast firing back onto the titanium mesh 1550 01:16:50,500 --> 01:16:51,966 all right still got to be dried 1551 01:16:51,966 --> 01:16:54,733 but because it's Union Media it's fast drying 1552 01:16:54,866 --> 01:16:59,099 and the evaporation is happening almost instantaneously 1553 01:16:59,133 --> 01:17:00,533 water being driven off 1554 01:17:00,566 --> 01:17:02,533 now this is cellulose based 1555 01:17:02,900 --> 01:17:04,166 and I have taught 1556 01:17:04,166 --> 01:17:07,099 a group where somebody put it straight in the Kiln 1557 01:17:07,400 --> 01:17:10,800 and all the Unimedia actually caught fire 1558 01:17:11,300 --> 01:17:14,366 and he opened the Kiln door and flames were coming out 1559 01:17:14,366 --> 01:17:15,799 and it wasn't from the elements 1560 01:17:15,800 --> 01:17:18,366 or anything it was from the painter itself so 1561 01:17:18,600 --> 01:17:20,066 we quickly switched off 1562 01:17:20,066 --> 01:17:23,199 shut the door and waited for the bonfire to subside 1563 01:17:23,566 --> 01:17:25,099 so that's pretty well ready 1564 01:17:25,100 --> 01:17:27,166 and it's going to go into the Kiln 1565 01:17:28,766 --> 01:17:30,733 just supporting it there 1566 01:17:32,100 --> 01:17:34,933 and leaving that until it gets the second 50 1567 01:17:35,066 --> 01:17:38,799 now this is on such a thin piece of steel enamel 1568 01:17:38,800 --> 01:17:41,066 that it's going to fire more quickly 1569 01:17:41,333 --> 01:17:45,299 at the temperature the 7 50 30 802 1570 01:17:45,700 --> 01:17:48,766 it may even far just below that temperature 1571 01:17:48,866 --> 01:17:50,699 so it needs careful watching 1572 01:17:50,800 --> 01:17:53,600 and I'm going to warm it to dry off 1573 01:17:53,733 --> 01:17:56,099 the Unimedia as before 1574 01:17:56,766 --> 01:17:58,399 so it just presented 1575 01:17:58,866 --> 01:17:59,766 into the Kiln 1576 01:18:00,300 --> 01:18:02,900 about three times the temperature drops 1577 01:18:02,900 --> 01:18:05,966 that's no bad thing because you want to go just below 1578 01:18:06,200 --> 01:18:07,000 700 1579 01:18:07,600 --> 01:18:10,733 ready for firing and then it climbs back up again 1580 01:18:11,133 --> 01:18:15,099 so it's on the titanium mesh and it's just going in now 1581 01:18:16,333 --> 01:18:18,099 I have to support it a bit 1582 01:18:18,366 --> 01:18:21,899 and use that kitchen slice to get it off 1583 01:18:22,666 --> 01:18:25,599 gently and then shut the Kiln down 1584 01:18:26,933 --> 01:18:27,733 and 1585 01:18:28,000 --> 01:18:31,700 it's going to take about a minute and a half I reckon 1586 01:18:32,600 --> 01:18:33,800 to climb back up 1587 01:18:34,366 --> 01:18:35,966 it started climbing already 1588 01:18:35,966 --> 01:18:38,066 because that piece is going to 1589 01:18:38,066 --> 01:18:39,699 warm up very very quickly 1590 01:18:39,700 --> 01:18:41,066 being thin steel 1591 01:18:42,133 --> 01:18:44,766 such a good piece for a test piece 1592 01:18:45,700 --> 01:18:47,166 but when it gets to about 1593 01:18:47,766 --> 01:18:48,566 7 1594 01:18:48,700 --> 01:18:51,333 30 I'm going to take a look at it 1595 01:18:51,333 --> 01:18:53,266 because I don't want to overfire it 1596 01:18:53,466 --> 01:18:57,199 I want pure colors these are the fugitive colors 1597 01:18:58,366 --> 01:19:00,933 the purple red very fugitive 1598 01:19:01,533 --> 01:19:03,499 and that means unstable 1599 01:19:03,766 --> 01:19:08,266 and the scarlet which is the rouge defer saradel color 1600 01:19:08,400 --> 01:19:11,966 the orange and the cardinal red 1601 01:19:13,266 --> 01:19:15,499 um fugitive means that they're 1602 01:19:15,500 --> 01:19:18,333 they're just gonna change wildly if you 1603 01:19:18,466 --> 01:19:19,699 um use the wrong 1604 01:19:20,533 --> 01:19:22,533 use the wrong base 1605 01:19:23,400 --> 01:19:25,533 and fire them in the wrong way 1606 01:19:26,600 --> 01:19:28,966 so it's climbing back up 1607 01:19:29,666 --> 01:19:30,733 on another 1608 01:19:31,366 --> 01:19:33,866 15 degrees also and then we'll take a look 1609 01:19:36,300 --> 01:19:38,100 I've got the overhead light 1610 01:19:38,100 --> 01:19:41,666 to just check when it comes out if it's shiny or not 1611 01:19:42,733 --> 01:19:45,133 if it's under fired it goes straight back in 1612 01:19:46,800 --> 01:19:49,666 but I'm going to take a look now 1613 01:19:52,133 --> 01:19:55,366 now it's got that sort of orange glow about it 1614 01:19:56,400 --> 01:20:00,700 and it is actually fired and it's a beautiful firing 1615 01:20:00,700 --> 01:20:02,166 so that's what you want 1616 01:20:02,166 --> 01:20:03,799 I'm going to put it down there 1617 01:20:04,200 --> 01:20:06,066 and let it cool down 1618 01:20:06,766 --> 01:20:09,333 so it fired quickly because it's very thin 1619 01:20:09,900 --> 01:20:13,000 if it's a large plaque very thick 1620 01:20:13,066 --> 01:20:15,499 it's going to take longer in the Kiln 1621 01:20:15,500 --> 01:20:18,600 but don't let the Kiln go above say 1622 01:20:18,900 --> 01:20:20,966 800 because the paint 1623 01:20:21,533 --> 01:20:24,466 will be overfired if you go that far 1624 01:20:26,166 --> 01:20:27,333 you can see it's 1625 01:20:27,566 --> 01:20:30,299 cooling down and the colors are coming back 1626 01:20:30,300 --> 01:20:32,333 and they're pretty faithful to 1627 01:20:33,133 --> 01:20:35,899 what I actually painted on so that's good 1628 01:20:36,066 --> 01:20:37,799 I just touched it a little bit there 1629 01:20:37,800 --> 01:20:40,166 to get the counter enamel off 1630 01:20:40,166 --> 01:20:41,799 the entertainium mesh 1631 01:20:42,100 --> 01:20:45,000 and there is cooling beautifully 1632 01:20:46,066 --> 01:20:47,799 so purple red 1633 01:20:47,800 --> 01:20:51,466 the rouge defer the orange and the cardinal red 1634 01:20:52,266 --> 01:20:53,799 lovely range there 1635 01:20:54,466 --> 01:20:56,499 and what a gorgeous glow 1636 01:20:56,966 --> 01:20:58,399 now this is what happens 1637 01:20:58,400 --> 01:21:00,533 if you overfire the piece 1638 01:21:00,800 --> 01:21:03,600 you see how the colors have burnt out 1639 01:21:05,533 --> 01:21:06,666 and where I 1640 01:21:06,766 --> 01:21:10,366 painted strong color at the base but slightly thinner 1641 01:21:10,500 --> 01:21:12,400 it's just burnt out altogether 1642 01:21:12,800 --> 01:21:16,133 and it hasn't gone gray but it has rather spoiled it 1643 01:21:16,200 --> 01:21:19,766 and that was because that was fired at 7:50 1644 01:21:19,766 --> 01:21:22,166 just following the rule but not checking 1645 01:21:22,166 --> 01:21:25,166 and not taking into account that this is a small piece 1646 01:21:25,900 --> 01:21:27,900 so always test colors 1647 01:21:27,900 --> 01:21:29,166 it's a good idea 1648 01:21:30,133 --> 01:21:31,333 now I'm going to mix up 1649 01:21:31,333 --> 01:21:33,299 two more colors for the butterfly 1650 01:21:33,366 --> 01:21:35,333 one is the yellow 1651 01:21:35,466 --> 01:21:36,733 little touch of that 1652 01:21:36,966 --> 01:21:40,966 and this is not a cadmium color it's just a basic color 1653 01:21:42,533 --> 01:21:46,799 there is a cadmium yellow and it's called Mandarin 1654 01:21:47,266 --> 01:21:49,366 but I can avoid it 1655 01:21:49,400 --> 01:21:53,333 it's okay to use without 1656 01:21:53,533 --> 01:21:55,099 have a palette without it 1657 01:21:56,000 --> 01:21:58,300 so I'll mix that up 1658 01:22:00,000 --> 01:22:02,966 and the other one is going to be the purple black 1659 01:22:03,566 --> 01:22:07,366 which I have in powder form in this little pot here 1660 01:22:09,566 --> 01:22:12,599 so I just dumped the yellow there 1661 01:22:12,600 --> 01:22:14,066 and it holds it shape 1662 01:22:14,066 --> 01:22:18,099 because I haven't added too much uni medium just enough 1663 01:22:20,766 --> 01:22:23,999 clean up ready to put some of this 1664 01:22:24,700 --> 01:22:26,133 grape black here 1665 01:22:26,366 --> 01:22:27,933 so here's the lovely mix 1666 01:22:28,733 --> 01:22:31,166 I wouldn't take the pot lid off straight away 1667 01:22:31,466 --> 01:22:34,866 because it's a whole lot of powder floating around 1668 01:22:34,866 --> 01:22:37,333 if you're going to actually be 1669 01:22:38,000 --> 01:22:40,366 using large quantities of these 1670 01:22:40,366 --> 01:22:42,599 which you can with screen printing and so on 1671 01:22:43,266 --> 01:22:45,733 then it's a good idea to wear a mask 1672 01:22:49,266 --> 01:22:52,199 I didn't really want to get involved in supplying paint 1673 01:22:52,366 --> 01:22:55,066 for the reason of just thinking about your health 1674 01:22:55,600 --> 01:22:58,066 and not wanting to decant them 1675 01:22:58,133 --> 01:23:03,199 so I can see the purple the red and the green there 1676 01:23:03,300 --> 01:23:05,400 and they're just blending together 1677 01:23:09,500 --> 01:23:11,900 okay that's all ready to go now 1678 01:23:15,266 --> 01:23:16,066 so 1679 01:23:17,166 --> 01:23:20,466 I haven't got the square with me right now 1680 01:23:20,466 --> 01:23:21,933 that's at the Kiln part 1681 01:23:22,200 --> 01:23:23,466 we can just press on 1682 01:23:23,466 --> 01:23:27,166 because I can grip the outer edges without any worry 1683 01:23:27,566 --> 01:23:30,499 so I'm just going to dip into the orange 1684 01:23:30,900 --> 01:23:33,066 and it's a good strong color 1685 01:23:34,133 --> 01:23:35,766 and just lay that down 1686 01:23:39,533 --> 01:23:41,733 just coming into here as well 1687 01:23:54,533 --> 01:23:57,766 so you'll just feel the silkiness of the paint 1688 01:23:57,766 --> 01:24:01,266 on the brush it's a really nice medium to use 1689 01:24:10,666 --> 01:24:14,366 and again if you make any errors you can wipe it off 1690 01:24:14,666 --> 01:24:16,866 and I'm working quite quickly with the only media 1691 01:24:16,866 --> 01:24:19,866 because you find that with a palette of mixed colors 1692 01:24:19,933 --> 01:24:21,166 they will have dried 1693 01:24:21,400 --> 01:24:24,300 after about two and a/2 hours of working 1694 01:24:24,566 --> 01:24:26,533 if you've got them out in the open 1695 01:24:26,666 --> 01:24:28,133 especially on a warm day 1696 01:24:28,400 --> 01:24:30,300 so they would need regrinding 1697 01:24:32,333 --> 01:24:34,199 people make bowls 1698 01:24:34,200 --> 01:24:38,166 varsis decorate tables in Iran with these paints 1699 01:24:38,166 --> 01:24:40,666 these same paints are used around the world 1700 01:24:40,866 --> 01:24:42,599 they're made in Germany 1701 01:24:43,066 --> 01:24:46,966 by a company that is called Pharaoh Fe Double R O 1702 01:24:47,266 --> 01:24:49,799 but if you buy them direct from the factory 1703 01:24:49,800 --> 01:24:52,500 you buy five kilos at a time 1704 01:24:53,100 --> 01:24:54,900 and of course there are lots of middlemen 1705 01:24:54,900 --> 01:24:57,133 that break down the color into first 1706 01:24:57,333 --> 01:25:01,799 one kilo and then into 250 grams and so on 1707 01:25:02,200 --> 01:25:06,733 so I've just got a damp brush and I'm working backwards 1708 01:25:06,800 --> 01:25:08,400 to get the half tone 1709 01:25:12,366 --> 01:25:14,133 wipe off the excess 1710 01:25:15,733 --> 01:25:17,499 and get back to there 1711 01:25:22,933 --> 01:25:26,666 so sometimes there's a shortage in supply of the 1712 01:25:26,900 --> 01:25:28,700 purples because 1713 01:25:29,000 --> 01:25:33,300 the person who has to buy a kilo or 5 kilos 1714 01:25:33,366 --> 01:25:35,099 can't afford it quite yet 1715 01:25:35,600 --> 01:25:38,166 and their stocks run down and then they run out 1716 01:25:38,166 --> 01:25:39,933 and that can be a bit of a nuisance 1717 01:25:40,533 --> 01:25:43,533 so make sure your stock is quite high 1718 01:25:53,700 --> 01:25:56,566 right you're removing to get fine lines 1719 01:25:56,566 --> 01:25:59,166 if you're doing hairs on a cattle or something 1720 01:25:59,300 --> 01:26:02,366 this brush is wonderful to just draw down either side 1721 01:26:02,366 --> 01:26:03,966 and there you've got the fine hair 1722 01:26:04,300 --> 01:26:06,166 and I'm just going to put a little bit more 1723 01:26:06,166 --> 01:26:07,499 intense color 1724 01:26:07,500 --> 01:26:08,600 up at the top 1725 01:26:09,300 --> 01:26:13,500 so I've got the brush super saturated with orange 1726 01:26:13,900 --> 01:26:17,533 and I'm just putting it back into the top part there 1727 01:26:20,400 --> 01:26:22,966 and already I can feel the paint just beginning to 1728 01:26:22,966 --> 01:26:24,599 drag a bit on the 1729 01:26:24,800 --> 01:26:26,166 on the palette 1730 01:26:27,466 --> 01:26:30,166 because it's been sitting out and it's a warm day 1731 01:26:31,766 --> 01:26:33,566 so coming around the other side 1732 01:26:34,400 --> 01:26:36,733 I'm blending with the brush 1733 01:26:36,733 --> 01:26:38,966 to try and remove some of the brush strokes 1734 01:26:38,966 --> 01:26:39,533 but here 1735 01:26:39,533 --> 01:26:42,599 I quite like to see the brush strokes in this design 1736 01:26:42,800 --> 01:26:44,466 but if you're doing a portrait 1737 01:26:44,466 --> 01:26:47,366 you'd be really mashing those strokes down 1738 01:26:47,600 --> 01:26:49,933 or any sort of delicate shading 1739 01:26:50,666 --> 01:26:51,699 or on the other hand 1740 01:26:51,700 --> 01:26:55,133 you could use the brush strokes to get the veining on 1741 01:26:55,266 --> 01:26:57,666 a leaf or on a flour petal 1742 01:26:58,766 --> 01:27:00,666 so that's about right there 1743 01:27:00,766 --> 01:27:04,699 so I wash the excess paint off onto the cloth 1744 01:27:05,066 --> 01:27:07,299 and then that goes out in the bin 1745 01:27:07,533 --> 01:27:10,066 and what I do when I'm throwing water 1746 01:27:10,166 --> 01:27:11,799 away that's got paint in it 1747 01:27:11,800 --> 01:27:13,666 is just put it into another bowl 1748 01:27:13,666 --> 01:27:16,866 and then pour away the water next day 1749 01:27:16,933 --> 01:27:19,499 and I've got the paint sitting at the bottom 1750 01:27:19,500 --> 01:27:20,933 and I wipe that away 1751 01:27:20,933 --> 01:27:21,733 and that's just 1752 01:27:21,733 --> 01:27:24,566 so that these paints don't go into the water system 1753 01:27:25,266 --> 01:27:27,699 so now it's a little touch of yellow 1754 01:27:28,966 --> 01:27:30,466 coming around here 1755 01:27:34,366 --> 01:27:37,466 and this isn't shaded it's just blocking it in 1756 01:27:47,200 --> 01:27:48,933 I'll just put my one there 1757 01:27:50,366 --> 01:27:51,733 always make changes 1758 01:27:52,466 --> 01:27:54,299 never do the same thing twice 1759 01:27:56,666 --> 01:27:58,299 and there 1760 01:28:01,333 --> 01:28:06,066 right the next part is the purple black 1761 01:28:08,100 --> 01:28:09,500 the great black I mean 1762 01:28:09,700 --> 01:28:13,100 and again I'm just going to take this up and 1763 01:28:13,333 --> 01:28:15,866 put a little bit blocked in here 1764 01:28:15,900 --> 01:28:18,766 as much as I dare without it being too thick 1765 01:28:18,766 --> 01:28:20,066 because I didn't want it 1766 01:28:20,333 --> 01:28:22,666 taking longer to fire than the other paints 1767 01:28:22,666 --> 01:28:25,333 so they will got to be about the same sort of level 1768 01:28:35,733 --> 01:28:39,766 okay I'm going to put the body in as well 1769 01:28:39,800 --> 01:28:41,766 and I'm going to use scrafito 1770 01:28:42,200 --> 01:28:43,966 to just show the shape 1771 01:28:44,200 --> 01:28:45,666 I'm going to go over that 1772 01:28:45,800 --> 01:28:48,133 pen line a little bit up to the top 1773 01:29:06,666 --> 01:29:09,799 that's it wipe off the excess there 1774 01:29:09,866 --> 01:29:12,366 into the water and into the medium 1775 01:29:12,766 --> 01:29:15,799 and then with the scrafito 1776 01:29:16,400 --> 01:29:18,766 you can just work into the paint 1777 01:29:23,400 --> 01:29:25,066 just get a bit of texture 1778 01:29:34,200 --> 01:29:36,566 and this is ready to fire again 1779 01:29:38,166 --> 01:29:40,199 oh little bit of orange on the antennae 1780 01:29:40,200 --> 01:29:41,566 I just spotted that 1781 01:29:45,000 --> 01:29:47,500 so we'll just put his little dots there 1782 01:29:48,766 --> 01:29:50,899 it just brightens it listens it 1783 01:29:54,866 --> 01:29:55,699 that's good 1784 01:29:58,866 --> 01:30:02,499 the enamel looks shiny still because the paints wet 1785 01:30:02,600 --> 01:30:05,733 and I'm going to offer it up to dry it 1786 01:30:06,333 --> 01:30:08,466 so I'm driving off the Unimedia 1787 01:30:08,466 --> 01:30:11,099 which is water based so you'll see steam rising 1788 01:30:11,200 --> 01:30:15,300 but it's such a small bit of painting may not show 1789 01:30:20,133 --> 01:30:23,266 okay under the lamp it's gone nice and pastel 1790 01:30:23,533 --> 01:30:26,566 so that's the time to put it into the Kiln 1791 01:30:27,700 --> 01:30:29,566 and it goes the back of the Kiln 1792 01:30:29,866 --> 01:30:30,999 shut the door down 1793 01:30:31,100 --> 01:30:35,200 and wait for the whole thing to climb up to 7 50 again 1794 01:30:35,366 --> 01:30:36,299 1382 1795 01:30:37,300 --> 01:30:40,566 so I'm just going to talk about another butterfly here 1796 01:30:40,966 --> 01:30:43,199 that was made and you can probably read this now 1797 01:30:43,200 --> 01:30:43,766 that this was 1798 01:30:43,766 --> 01:30:45,999 made with the sponge painting in the background 1799 01:30:46,000 --> 01:30:47,400 with the margin around 1800 01:30:47,400 --> 01:30:50,200 first using the tape 1801 01:30:50,700 --> 01:30:52,500 just to protect it 1802 01:30:52,566 --> 01:30:55,733 and then the next thing was the pen line to get 1803 01:30:55,733 --> 01:30:57,566 all of this outlining on the butterfly 1804 01:30:57,566 --> 01:30:58,366 and the antennae 1805 01:30:58,366 --> 01:31:01,699 and so on and then that was the second firing 1806 01:31:01,700 --> 01:31:04,566 and the third firing was adding the paint 1807 01:31:04,666 --> 01:31:06,933 and that was done with sponging 1808 01:31:07,133 --> 01:31:10,199 but you could use a brush here but it just 1809 01:31:10,733 --> 01:31:13,199 I didn't know it takes away the brush strokes 1810 01:31:13,200 --> 01:31:15,500 um which is quite good to have a sort of blocking 1811 01:31:15,500 --> 01:31:17,466 and of color and yet it's thin enough 1812 01:31:17,533 --> 01:31:19,533 so that was that tile 1813 01:31:20,000 --> 01:31:24,000 another idea is to have a little poem or a saying 1814 01:31:24,166 --> 01:31:29,599 and in two fire three firings that was a backwash there 1815 01:31:29,666 --> 01:31:32,933 then the magpies were put on in a more bold way 1816 01:31:32,966 --> 01:31:36,699 and finally the handwriting in the purple red 1817 01:31:36,733 --> 01:31:38,299 so that was quite detective 1818 01:31:40,500 --> 01:31:42,966 I talk about those because that student work 1819 01:31:42,966 --> 01:31:45,899 I was training somebody for six months it came to me 1820 01:31:46,666 --> 01:31:47,299 here 1821 01:31:47,300 --> 01:31:51,400 this shows the sequence for lacquer resist and sponging 1822 01:31:51,533 --> 01:31:54,266 so down here you've got the first stages 1823 01:31:54,366 --> 01:31:57,566 where you've got lacca resist and some scrafito 1824 01:31:57,566 --> 01:32:00,599 scratching out these fine little twigs and so on 1825 01:32:00,966 --> 01:32:04,466 sponging on two colors the green and the blue 1826 01:32:04,666 --> 01:32:06,999 and then again it's been 1827 01:32:07,266 --> 01:32:09,599 lacca resisted so that you've got 1828 01:32:09,866 --> 01:32:12,066 the twigs with the blue background 1829 01:32:12,333 --> 01:32:15,566 and when the next bunging layer was put on 1830 01:32:15,766 --> 01:32:19,166 ice graffitied back to the original green 1831 01:32:19,166 --> 01:32:20,599 or into the blue 1832 01:32:21,133 --> 01:32:23,499 and here you can read it that I've put 1833 01:32:23,600 --> 01:32:24,966 more lacquer resist on 1834 01:32:25,066 --> 01:32:27,133 and this time put on a black 1835 01:32:27,166 --> 01:32:28,933 sort of strong really 1836 01:32:28,933 --> 01:32:30,299 that is the lamp black 1837 01:32:30,333 --> 01:32:34,199 and then scrafitoed back to reveal just a little bit 1838 01:32:34,600 --> 01:32:36,700 and this final one here 1839 01:32:37,966 --> 01:32:41,499 you can see the sequence where lacquer resist to 1840 01:32:41,700 --> 01:32:44,200 show the white there but bit of scrafito 1841 01:32:44,200 --> 01:32:45,500 if it's too fiddly 1842 01:32:45,666 --> 01:32:48,933 then protect it again with dots of lacquer resist 1843 01:32:49,366 --> 01:32:50,266 and then 1844 01:32:50,800 --> 01:32:54,566 you're just protecting some of this lovely turquoise 1845 01:32:54,700 --> 01:32:57,200 and sponge over with a darker turquoise 1846 01:32:57,866 --> 01:32:59,566 peel off your lacquer resist 1847 01:32:59,566 --> 01:33:03,399 and then the third firing would be protecting it all 1848 01:33:03,966 --> 01:33:05,533 white and the turquoise 1849 01:33:05,533 --> 01:33:08,566 and then sponging over the grape black 1850 01:33:09,266 --> 01:33:11,766 and the fourth firing is where I've just added 1851 01:33:11,766 --> 01:33:12,899 touches of paint 1852 01:33:12,900 --> 01:33:13,733 with a brush 1853 01:33:14,400 --> 01:33:16,066 and these are fun because 1854 01:33:16,466 --> 01:33:19,866 you'll use the laccha resist like this drawing it down 1855 01:33:19,866 --> 01:33:22,933 and then the final little bits are used 1856 01:33:23,200 --> 01:33:26,000 scraphita work and little dots and so on 1857 01:33:26,100 --> 01:33:28,666 and then protect it again with laccha resist 1858 01:33:28,666 --> 01:33:32,266 and add in another darker color for sponging 1859 01:33:32,266 --> 01:33:35,866 and the final bit is little touches of paint there 1860 01:33:36,666 --> 01:33:40,899 and here you've got some broadbands of color which 1861 01:33:41,066 --> 01:33:44,866 only revealed when you put the sponging over 1862 01:33:44,966 --> 01:33:48,866 and then scrafito back to get those colors 1863 01:33:49,000 --> 01:33:52,100 so the kilns now up to 7:50 1864 01:33:52,333 --> 01:33:53,599 put the glove on 1865 01:33:55,400 --> 01:33:58,933 and take it out and it's lovely and it's gone 1866 01:33:59,000 --> 01:34:02,533 changed color and I can see the paint shining there 1867 01:34:03,400 --> 01:34:05,733 and I'm just going to put it straight down onto here 1868 01:34:05,733 --> 01:34:07,933 I'm always worried in case the marble top might 1869 01:34:07,933 --> 01:34:08,899 crack or something 1870 01:34:08,900 --> 01:34:09,966 I don't think it would 1871 01:34:10,366 --> 01:34:12,166 but I'm just going to settle it there 1872 01:34:12,166 --> 01:34:13,733 and you can see what it's like 1873 01:34:13,966 --> 01:34:14,766 those 1874 01:34:15,100 --> 01:34:17,266 bright colors the cabinean colors 1875 01:34:17,566 --> 01:34:20,399 and the yellow have changed color dramatically 1876 01:34:23,200 --> 01:34:26,166 so the orange has gone more like the cadmium red 1877 01:34:26,166 --> 01:34:27,499 and the yellows gone 1878 01:34:27,700 --> 01:34:30,300 a really dark yoke yellow 1879 01:34:30,900 --> 01:34:33,300 and the great black hasn't changed at all 1880 01:34:45,300 --> 01:34:47,300 the enamel is now cool 1881 01:34:47,300 --> 01:34:49,900 and I've mounted it again on a piece of card 1882 01:34:50,066 --> 01:34:52,333 with some of the blue tack 1883 01:34:52,966 --> 01:34:55,366 and it makes it easier to move the card 1884 01:34:55,366 --> 01:34:57,066 rather than touch the enamel 1885 01:34:57,066 --> 01:34:58,299 as I said before 1886 01:34:58,600 --> 01:35:00,600 so I'm going to take some lacquer resist 1887 01:35:00,600 --> 01:35:05,933 and this time I'm going to paint around the butterfly 1888 01:35:05,933 --> 01:35:07,333 so that there's a well here 1889 01:35:07,333 --> 01:35:08,566 but you see white 1890 01:35:08,600 --> 01:35:10,966 that's going to become this ochre color 1891 01:35:11,666 --> 01:35:14,699 and this is really doing something in reverse 1892 01:35:14,700 --> 01:35:17,400 from what I did before when I was actually 1893 01:35:17,533 --> 01:35:19,299 making white silhouettes 1894 01:35:19,300 --> 01:35:22,466 this time you've reserved some white 1895 01:35:22,466 --> 01:35:25,199 which you then paint with pure color 1896 01:35:25,200 --> 01:35:27,466 because if it had the blue over it 1897 01:35:27,600 --> 01:35:30,133 it wouldn't give the required color 1898 01:35:30,733 --> 01:35:33,733 because the paint acts like layers of tissue paper 1899 01:35:33,733 --> 01:35:36,099 one color shining through another 1900 01:35:36,800 --> 01:35:39,900 so I'm just going to go carefully around here 1901 01:35:41,900 --> 01:35:43,900 and it's just so that I can 1902 01:35:44,100 --> 01:35:47,966 put the sponging in the center covering the white 1903 01:35:48,700 --> 01:35:50,500 and of course I've got to cover 1904 01:35:50,700 --> 01:35:52,500 the parts that I've painted 1905 01:35:52,500 --> 01:35:55,200 because I don't want them to go opera as well 1906 01:35:55,500 --> 01:35:57,466 so it will go over here 1907 01:35:59,466 --> 01:36:00,999 and around there 1908 01:36:04,100 --> 01:36:05,133 and you may think oh 1909 01:36:05,133 --> 01:36:07,333 well you must all do this as a painting as well 1910 01:36:07,333 --> 01:36:08,733 that's your judgment 1911 01:36:08,733 --> 01:36:12,499 to paint the white area Oka with a brush 1912 01:36:12,733 --> 01:36:15,299 but following through with the sponge work 1913 01:36:15,300 --> 01:36:17,266 gives it that specularly effect 1914 01:36:17,466 --> 01:36:19,766 as if you've put a million dots 1915 01:36:19,766 --> 01:36:22,933 like plantalism in miniature painting 1916 01:36:23,600 --> 01:36:25,800 so it gives it a certain sort of style 1917 01:36:25,800 --> 01:36:27,933 and you don't see any streakiness 1918 01:36:27,933 --> 01:36:30,266 that you might get with brush painting 1919 01:36:32,533 --> 01:36:35,666 so while I'm doing this which is a little bit laborious 1920 01:36:35,666 --> 01:36:37,499 I'm just going to show you 1921 01:36:38,133 --> 01:36:39,699 a painting here 1922 01:36:40,933 --> 01:36:44,266 and this has several techniques 1923 01:36:45,266 --> 01:36:47,466 which you'll be able to identify 1924 01:36:48,400 --> 01:36:52,266 a line work with pen and ink 1925 01:36:52,566 --> 01:36:53,466 using 1926 01:36:53,800 --> 01:36:58,766 the iron red actually which is not part of my palette 1927 01:36:58,966 --> 01:37:02,933 but it does give a wonderful terracotta color 1928 01:37:03,366 --> 01:37:06,799 similar to the miniatures that were made 1929 01:37:07,666 --> 01:37:09,733 many many centuries ago 1930 01:37:10,100 --> 01:37:13,333 and they were using Minim which was 1931 01:37:13,733 --> 01:37:16,599 a mercury oxide which gave this 1932 01:37:16,700 --> 01:37:18,366 gave these sort of orange color 1933 01:37:18,600 --> 01:37:22,000 and that's where we think the word miniature comes from 1934 01:37:23,066 --> 01:37:29,899 from minium so after firing on the line work I then 1935 01:37:30,766 --> 01:37:31,766 used some 1936 01:37:32,266 --> 01:37:36,266 sponging to make the block in the background colours 1937 01:37:36,600 --> 01:37:38,866 and then you can see with this particular one 1938 01:37:38,866 --> 01:37:40,566 there's a yellow base 1939 01:37:40,866 --> 01:37:44,466 and I put orange over the top with a brush 1940 01:37:44,466 --> 01:37:47,166 and then scruffy toed back to the yellow 1941 01:37:48,366 --> 01:37:51,766 so you'll be able to read the painting to understand 1942 01:37:52,200 --> 01:37:56,333 the stages there's probably about six firings there 1943 01:37:58,566 --> 01:37:59,533 and there's also 1944 01:37:59,533 --> 01:38:01,966 some scrafito in the background as well 1945 01:38:02,000 --> 01:38:03,800 not quite so noticeable 1946 01:38:05,366 --> 01:38:09,566 and then another painting more boldly a sponge painting 1947 01:38:10,066 --> 01:38:12,699 and it's got some goldwear cornished as well 1948 01:38:13,066 --> 01:38:14,866 you can see with the bells 1949 01:38:15,066 --> 01:38:18,599 and you can understand the sequence there 1950 01:38:18,766 --> 01:38:23,366 three layers of paint sponged on using lacquer resist 1951 01:38:23,666 --> 01:38:26,366 to build up that density 1952 01:38:31,900 --> 01:38:34,066 so I think planning your own work 1953 01:38:34,066 --> 01:38:36,533 it's quite good to just turn it over in your mind 1954 01:38:36,566 --> 01:38:38,766 it's good mental gymnastics to think 1955 01:38:38,933 --> 01:38:40,666 what you're going to be doing first 1956 01:38:40,966 --> 01:38:43,599 and what effect you want to achieve 1957 01:38:43,866 --> 01:38:45,333 lots of things are possible 1958 01:38:45,333 --> 01:38:46,766 if you just think it through 1959 01:38:49,166 --> 01:38:51,399 I'm just going over the dots 1960 01:38:51,400 --> 01:38:53,866 and I'm leaving a little bit of whiter as well 1961 01:38:53,866 --> 01:38:56,199 because that might be quite attractive 1962 01:39:02,400 --> 01:39:05,566 it's quite difficult if you put a dark color 1963 01:39:05,566 --> 01:39:07,399 over the top of this red 1964 01:39:07,600 --> 01:39:10,800 it's difficult then to see the red shining through 1965 01:39:11,133 --> 01:39:12,966 and you may miss some areas 1966 01:39:12,966 --> 01:39:15,133 and then they get fired in the Kiln 1967 01:39:15,366 --> 01:39:18,366 and the lacquer resist then goes gray 1968 01:39:18,366 --> 01:39:20,699 and I'm afraid it's fired on 1969 01:39:21,066 --> 01:39:22,333 and there's nothing you can do 1970 01:39:22,333 --> 01:39:24,599 except scrape it off with a diamond point 1971 01:39:26,200 --> 01:39:28,400 so it's best to find all of them 1972 01:39:28,866 --> 01:39:31,866 right we're going to just leave that to dry now 1973 01:39:32,500 --> 01:39:37,533 and come back to it later to sponge on the ochre 1974 01:39:38,533 --> 01:39:41,866 I'm going to go back to the piece that 1975 01:39:42,366 --> 01:39:46,299 I demonstrated earlier with brush painting 1976 01:39:46,900 --> 01:39:49,933 and I've got that over at the Kiln ready to fire 1977 01:39:51,666 --> 01:39:55,099 right the spongeing is going to be done with Unimedia 1978 01:39:55,200 --> 01:39:58,266 and Oka so I'll take the Oka paint 1979 01:39:58,366 --> 01:40:02,199 and I just need just enough to cover that surface 1980 01:40:02,200 --> 01:40:05,466 but knowing that the sponge takes up quite a lot 1981 01:40:05,533 --> 01:40:06,966 you need to just put in 1982 01:40:07,266 --> 01:40:08,566 maybe double what you thought 1983 01:40:09,533 --> 01:40:11,399 never put it back in the pot 1984 01:40:12,533 --> 01:40:16,799 and then take some Unimedia put it beside it 1985 01:40:17,900 --> 01:40:19,866 and then just work it in 1986 01:40:20,300 --> 01:40:23,066 so that you've got a lovely silky paint 1987 01:40:23,800 --> 01:40:27,333 and make sure you mash down all the bowls of powder 1988 01:40:27,533 --> 01:40:29,099 so it's all blended 1989 01:40:30,200 --> 01:40:33,733 don't want any fierce dots of color in the middle of it 1990 01:40:33,800 --> 01:40:35,566 so you just gather it 1991 01:40:36,666 --> 01:40:38,766 I haven't used all the union media there 1992 01:40:38,766 --> 01:40:40,466 so I'm just gonna wipe that off 1993 01:40:42,733 --> 01:40:44,966 and that's about the right consistency 1994 01:40:46,966 --> 01:40:49,466 and then you want to finally gather it up 1995 01:40:51,766 --> 01:40:52,966 clean that off 1996 01:40:53,966 --> 01:40:55,999 and then ready to sponge over 1997 01:40:56,000 --> 01:40:59,166 now you can get varieties of sponge 1998 01:41:00,366 --> 01:41:03,466 this sort of thing from craft hobbyists 1999 01:41:03,466 --> 01:41:05,466 and that would be about the right size to use 2000 01:41:05,700 --> 01:41:07,466 or on chopsticks 2001 01:41:07,466 --> 01:41:10,566 you can mount your own bit of upholstery sponge 2002 01:41:10,700 --> 01:41:11,900 or you may get 2003 01:41:12,100 --> 01:41:15,133 makeup sponges which could work quite well 2004 01:41:15,800 --> 01:41:17,966 so I'll use a couple of these 2005 01:41:18,000 --> 01:41:19,966 one on one side and one on the other 2006 01:41:19,966 --> 01:41:21,899 to just show how it works 2007 01:41:23,966 --> 01:41:26,933 we're just coming in the middle here 2008 01:41:27,100 --> 01:41:29,066 doesn't match if you go over a bit 2009 01:41:29,266 --> 01:41:32,333 because you can always wipe that off afterward 2010 01:41:34,966 --> 01:41:37,799 main thing is it to make it even 2011 01:41:38,400 --> 01:41:39,766 if that's what you want 2012 01:41:41,066 --> 01:41:44,599 and then with this little upholstery sponge 2013 01:41:45,600 --> 01:41:47,000 try it there first 2014 01:41:47,100 --> 01:41:48,500 yep it's working 2015 01:41:49,066 --> 01:41:50,699 and then go over this bit 2016 01:41:51,800 --> 01:41:54,666 and it's just the dubbing motion 2017 01:41:59,366 --> 01:42:03,266 and I'll even them up now so that they look symmetrical 2018 01:42:04,733 --> 01:42:06,099 now the fun bit 2019 01:42:06,566 --> 01:42:08,266 getting the tweezers 2020 01:42:08,866 --> 01:42:13,066 and just wiping off that excess paint there 2021 01:42:14,600 --> 01:42:16,066 straight onto the blue 2022 01:42:16,166 --> 01:42:18,733 and then lifting a corner 2023 01:42:20,300 --> 01:42:23,200 and the body may come away as well 2024 01:42:24,066 --> 01:42:26,166 that's why the satisfying isn't it 2025 01:42:26,366 --> 01:42:28,966 so just put that down there 2026 01:42:29,733 --> 01:42:32,066 and then tidy up the rest 2027 01:42:36,100 --> 01:42:38,366 and that's leaving a little bit of white 2028 01:42:38,566 --> 01:42:39,899 which I intended 2029 01:42:49,766 --> 01:42:52,599 if this lacquer resist gets a bit wet 2030 01:42:52,600 --> 01:42:54,533 then it starts to dissolve 2031 01:42:55,266 --> 01:42:57,966 and it makes it more difficult to peel off 2032 01:42:57,966 --> 01:43:00,066 so that's why it's best not to 2033 01:43:00,566 --> 01:43:02,499 keep sponging over 2034 01:43:03,866 --> 01:43:05,999 but to do it quite confidently 2035 01:43:06,066 --> 01:43:09,299 having done some testing on the tile 2036 01:43:11,000 --> 01:43:12,533 it's getting that bit off 2037 01:43:16,400 --> 01:43:18,766 that bit that has gone wet 2038 01:43:18,766 --> 01:43:22,299 so I'm going to use something else to get that off 2039 01:43:24,866 --> 01:43:25,133 right 2040 01:43:25,133 --> 01:43:27,899 I'm going to just go around here make sure all the 2041 01:43:27,900 --> 01:43:31,100 OK that had straight off has come off there 2042 01:43:31,933 --> 01:43:33,699 grab that bit there 2043 01:43:40,600 --> 01:43:44,933 there and then use a brush that I wet 2044 01:43:46,366 --> 01:43:50,466 just to dissolve that a bit further and lift it off 2045 01:43:53,066 --> 01:43:54,966 there it's coming off from the paintbrush 2046 01:43:55,500 --> 01:43:57,133 and that's all fired 2047 01:43:57,133 --> 01:44:00,733 so no worry about going over this area 2048 01:44:01,300 --> 01:44:04,366 but don't stray into the Oka part 2049 01:44:08,366 --> 01:44:11,733 so I'm sure you'll work out more complicated designs 2050 01:44:11,900 --> 01:44:15,133 as I have with many of my sponge paintings 2051 01:44:15,133 --> 01:44:17,599 but this is just to show simply 2052 01:44:17,866 --> 01:44:20,599 how to put together 6 or 7 techniques 2053 01:44:21,366 --> 01:44:22,699 and make it work 2054 01:44:24,933 --> 01:44:28,533 so having removed all the Lacker resist 2055 01:44:29,500 --> 01:44:33,500 I now go round it with scrafito just to 2056 01:44:33,733 --> 01:44:35,499 outflying a little bit more 2057 01:44:35,500 --> 01:44:38,600 because the white really does bring out color 2058 01:44:44,366 --> 01:44:45,266 and there 2059 01:44:46,666 --> 01:44:47,699 and 2060 01:44:48,466 --> 01:44:49,999 just a little bit there 2061 01:44:56,566 --> 01:44:57,466 okay 2062 01:44:59,133 --> 01:45:00,399 to wipe this off 2063 01:45:06,333 --> 01:45:10,899 and this one will now be fired at 7:50 1382 2064 01:45:12,466 --> 01:45:14,299 take the blue Tac off the back 2065 01:45:14,300 --> 01:45:15,766 doesn't want that firing on 2066 01:45:15,866 --> 01:45:17,666 and we'll go across to the Kiln again 2067 01:45:18,166 --> 01:45:21,599 now for this firing I've got a tile 2068 01:45:22,133 --> 01:45:23,399 already in the Kiln 2069 01:45:23,733 --> 01:45:26,399 this is a ceramic fiberboard support 2070 01:45:26,466 --> 01:45:28,099 so it's lucky and hot 2071 01:45:28,533 --> 01:45:30,799 and as soon as I put the butterfly on it 2072 01:45:30,800 --> 01:45:32,933 you'll probably see the seam coming off 2073 01:45:33,199 --> 01:45:37,066 because it will be drying this Unimedia very quickly 2074 01:45:37,699 --> 01:45:38,933 so put it there 2075 01:45:40,366 --> 01:45:43,199 and then use the spatula now 2076 01:45:45,533 --> 01:45:47,566 this is just an alternative method 2077 01:45:49,733 --> 01:45:52,699 and presents it the mouth of the Kiln 2078 01:45:54,133 --> 01:45:55,999 and it's going to go that pastel shade 2079 01:45:55,999 --> 01:45:57,299 it's already gone 2080 01:45:58,200 --> 01:46:00,366 so just 2081 01:46:01,733 --> 01:46:03,966 heated up the plaque very quickly 2082 01:46:04,933 --> 01:46:07,333 put it to the back of the Kiln where its hottest 2083 01:46:07,733 --> 01:46:09,299 and shut the door 2084 01:46:10,466 --> 01:46:12,499 and then watch it climb back up 2085 01:46:12,500 --> 01:46:14,733 and this will go up to fullfowering 2086 01:46:15,266 --> 01:46:19,799 750 because it's a normal sized thick piece of steel 2087 01:46:19,866 --> 01:46:22,266 about one and a/2 millimeters I think 2088 01:46:22,666 --> 01:46:24,599 compared to this one being 2089 01:46:25,266 --> 01:46:28,133 probably a third of a millimeter I think 2090 01:46:28,166 --> 01:46:30,533 so thin but the wonderful thing 2091 01:46:30,533 --> 01:46:33,066 about steel is it keeps its flat shape 2092 01:46:33,533 --> 01:46:35,133 so that's great to work with 2093 01:46:35,466 --> 01:46:36,666 because copper 2094 01:46:37,366 --> 01:46:40,399 would need doming in order to keep the shape 2095 01:46:40,399 --> 01:46:43,066 if you had a piece of copper flat like that 2096 01:46:43,066 --> 01:46:45,866 it would go saucer shaped in the Kiln 2097 01:46:46,466 --> 01:46:47,799 so the only way to counteract 2098 01:46:47,800 --> 01:46:49,933 that is to dome it the other way 2099 01:46:50,366 --> 01:46:53,266 or what you can do when you bring it out of the Kiln 2100 01:46:53,566 --> 01:46:54,999 very carefully 2101 01:46:56,200 --> 01:46:57,933 not when the enamel is still 2102 01:46:58,300 --> 01:46:59,866 very very toughy like 2103 01:46:59,866 --> 01:47:01,533 but just afterwards 2104 01:47:01,599 --> 01:47:05,299 you just flatten it at the edges like that 2105 01:47:05,300 --> 01:47:06,966 with a pair of butter knives 2106 01:47:07,466 --> 01:47:09,333 and that will rescue the copper 2107 01:47:09,566 --> 01:47:11,466 or you can get a flat iron 2108 01:47:11,600 --> 01:47:12,966 old fashioned flat iron 2109 01:47:12,966 --> 01:47:17,099 or a pot or a piece of steel block which is really hot 2110 01:47:17,200 --> 01:47:20,266 and lay that on top and flatten it 2111 01:47:20,266 --> 01:47:22,066 but be careful it's got to be done 2112 01:47:22,566 --> 01:47:24,099 just after it's gone 2113 01:47:24,766 --> 01:47:26,066 not the toffee stage 2114 01:47:26,066 --> 01:47:27,599 otherwise you'll Mark the enamel 2115 01:47:27,666 --> 01:47:30,499 just a couple of seconds after and then press 2116 01:47:30,799 --> 01:47:32,466 not too long otherwise 2117 01:47:32,800 --> 01:47:33,966 it will crack 2118 01:47:34,333 --> 01:47:35,666 being glass 2119 01:47:36,466 --> 01:47:39,133 so this is climbing up again now 2120 01:47:40,100 --> 01:47:42,800 and when it gets to 7 50 2121 01:47:43,266 --> 01:47:45,066 it'll be ready to take out 2122 01:47:45,200 --> 01:47:47,366 and then there's just one more firing 2123 01:47:47,700 --> 01:47:51,266 which is applying some navy blue 2124 01:47:52,366 --> 01:47:55,733 the great blue and also the the gold 2125 01:47:56,200 --> 01:47:58,133 which is an interesting 2126 01:47:59,000 --> 01:47:59,800 piece 2127 01:48:01,733 --> 01:48:03,166 all right with gold 2128 01:48:03,900 --> 01:48:07,933 you lay it on too thickly and it won't fire properly 2129 01:48:07,933 --> 01:48:09,866 so you may think that adding 2130 01:48:09,866 --> 01:48:12,599 a rich coating of gold would be best 2131 01:48:12,600 --> 01:48:15,466 but it isn't make it too thin 2132 01:48:15,500 --> 01:48:18,133 and it just goes like a sort of lacquer 2133 01:48:18,733 --> 01:48:21,333 smear of a lavender color 2134 01:48:21,600 --> 01:48:24,766 so just right which I'll demonstrate in a moment 2135 01:48:24,766 --> 01:48:27,899 and you'll get this lovely glint 2136 01:48:28,266 --> 01:48:31,733 and these lusters are available in all sorts of colors 2137 01:48:31,733 --> 01:48:35,466 there's gold and there's platinum and silver 2138 01:48:35,733 --> 01:48:38,899 and interestingly it's a platinum that gives a better 2139 01:48:38,900 --> 01:48:40,666 silver than silver itself 2140 01:48:40,800 --> 01:48:42,533 there's a copper luster 2141 01:48:42,966 --> 01:48:45,099 there's Carmine there's green 2142 01:48:45,100 --> 01:48:47,133 there's all sorts of colors that you can play with 2143 01:48:47,133 --> 01:48:49,366 a bit like ceramics and majolica 2144 01:48:50,266 --> 01:48:52,199 and I'm going to show you in a minute how 2145 01:48:52,200 --> 01:48:53,533 you brush it on 2146 01:48:53,866 --> 01:48:55,666 you semi fire it 2147 01:48:56,133 --> 01:48:59,366 and as soon as the bright gold comes up 2148 01:48:59,366 --> 01:49:01,966 then you've got a chance to scraffeto into it 2149 01:49:01,966 --> 01:49:03,299 because it's not fully fired 2150 01:49:03,300 --> 01:49:06,500 and you can refine all the gold that you've laid down 2151 01:49:06,933 --> 01:49:10,266 and then fire it fully and that fixes it 2152 01:49:10,266 --> 01:49:12,133 so it's not going to come off at all 2153 01:49:12,566 --> 01:49:14,666 so this is the same gold that's used 2154 01:49:14,666 --> 01:49:16,133 in the ceramics industry 2155 01:49:16,133 --> 01:49:17,733 to go around the edging of plates 2156 01:49:17,733 --> 01:49:19,499 some cups and sauces and so on 2157 01:49:21,966 --> 01:49:25,599 so getting ready to take the piece out when it reaches 2158 01:49:25,666 --> 01:49:26,533 7 50 2159 01:49:28,866 --> 01:49:30,399 just about now 2160 01:49:33,666 --> 01:49:37,499 there it is always has that lovely orange glow about it 2161 01:49:38,166 --> 01:49:41,799 and with the overhead light I can see that it's fired 2162 01:49:42,400 --> 01:49:44,000 I'm going to pop that down 2163 01:49:46,333 --> 01:49:48,899 and then as soon as it's cooled enough 2164 01:49:49,666 --> 01:49:52,966 after about a minute on there it begins to pull away 2165 01:49:53,200 --> 01:49:55,566 from the ceramic fiber board 2166 01:49:55,566 --> 01:49:57,966 which has this clay wash over it 2167 01:49:58,366 --> 01:49:59,699 if I were to lift it now 2168 01:49:59,700 --> 01:50:02,466 it would tear some of the clay wash off 2169 01:50:03,000 --> 01:50:05,200 so I'm going to leave it for a couple of minutes 2170 01:50:05,200 --> 01:50:09,066 and then put it on to perhaps the titanium mesh 2171 01:50:09,066 --> 01:50:10,666 to cool it more rapidly 2172 01:50:15,100 --> 01:50:16,533 so it's changing color 2173 01:50:16,533 --> 01:50:18,799 which gives me an idea of the temperature 2174 01:50:20,333 --> 01:50:22,466 but you can see it's still stuck 2175 01:50:23,900 --> 01:50:27,500 because the glasses is contracting 2176 01:50:30,366 --> 01:50:31,666 and it will be 2177 01:50:32,966 --> 01:50:34,799 just worth waiting a little bit 2178 01:50:35,933 --> 01:50:37,399 before putting it on there 2179 01:50:39,733 --> 01:50:42,733 it's quite nice sometimes to work two paintings at once 2180 01:50:42,733 --> 01:50:45,133 because while you're waiting for one to cool down 2181 01:50:45,133 --> 01:50:48,133 you can be applying the sponging to the other one 2182 01:50:48,133 --> 01:50:50,733 I've often done that there 2183 01:50:50,966 --> 01:50:54,099 it's come away it hasn't torn any of that 2184 01:50:54,133 --> 01:50:56,999 so I'm just going to leave it there to cool 2185 01:50:57,333 --> 01:50:59,166 and then we'll add the next layer 2186 01:51:00,266 --> 01:51:03,499 right for this I'm going to apply the great black 2187 01:51:03,500 --> 01:51:05,300 I've got some mixed up here 2188 01:51:05,500 --> 01:51:07,866 so I'll take a little portion 2189 01:51:09,400 --> 01:51:11,700 and use Unimedia again 2190 01:51:13,166 --> 01:51:15,866 I'm going to apply this with a brush this time 2191 01:51:15,900 --> 01:51:17,900 and then use some Scravito 2192 01:51:18,766 --> 01:51:21,166 so we want some Unimedia to add 2193 01:51:22,600 --> 01:51:24,566 put a blob beside it 2194 01:51:26,333 --> 01:51:27,933 about the same size 2195 01:51:29,366 --> 01:51:31,266 you can see the color haven't quite mixed 2196 01:51:31,266 --> 01:51:32,599 so there's the green 2197 01:51:32,733 --> 01:51:35,766 and I can see purple but blending it now 2198 01:51:36,699 --> 01:51:39,566 is making something slightly more on the green side 2199 01:51:39,566 --> 01:51:43,099 so there must be a little bit more of the Reed green 2200 01:51:43,133 --> 01:51:46,099 going to take a No. 2 brush 2201 01:51:46,366 --> 01:51:48,166 and I need the 2202 01:51:48,533 --> 01:51:49,933 Unimedia Open 2203 01:51:51,333 --> 01:51:55,199 so just dry that off and then only have Unimedia 2204 01:51:55,300 --> 01:51:56,966 damp in the brush 2205 01:51:57,366 --> 01:51:59,666 and roll the brush into the paint 2206 01:51:59,966 --> 01:52:03,399 and then just paint down the side here roughly 2207 01:52:07,333 --> 01:52:09,933 on both sides and come up around 2208 01:52:15,166 --> 01:52:15,966 and 2209 01:52:18,366 --> 01:52:19,533 hit symmetrical 2210 01:52:30,866 --> 01:52:33,766 okay now into this paint 2211 01:52:36,600 --> 01:52:38,200 you can either use your 2212 01:52:38,566 --> 01:52:39,966 scrafito tool 2213 01:52:44,500 --> 01:52:46,266 make some lines like that 2214 01:52:52,600 --> 01:52:55,100 that works quite well for refining things 2215 01:52:57,300 --> 01:53:00,533 it just depends how blunt you make this tool by 2216 01:53:00,866 --> 01:53:02,733 rubbing it on sandpaper 2217 01:53:03,500 --> 01:53:05,333 because if it's really pointy 2218 01:53:05,600 --> 01:53:07,900 the lines might be so fine that the 2219 01:53:07,900 --> 01:53:09,566 paint falls back on itself 2220 01:53:10,766 --> 01:53:14,499 from another tool that you could get from ceramics 2221 01:53:15,066 --> 01:53:18,166 suppliers is this wipeout tool 2222 01:53:18,500 --> 01:53:22,333 and using the blade here or this 2223 01:53:22,466 --> 01:53:25,966 you can actually work into it like that 2224 01:53:29,066 --> 01:53:30,299 or with the blade 2225 01:53:32,300 --> 01:53:34,400 it gives the same sort of effect really 2226 01:53:36,100 --> 01:53:39,400 the rubbererness is rather nice to press down on 2227 01:53:40,766 --> 01:53:41,366 and 2228 01:53:41,366 --> 01:53:44,266 this is turning it more into a moth than a butterfly 2229 01:53:48,500 --> 01:53:51,400 but it would be very difficult to paint these lines in 2230 01:53:51,800 --> 01:53:54,566 as fine lines so this is a good technique 2231 01:53:57,733 --> 01:54:00,399 there and the last thing 2232 01:54:01,600 --> 01:54:03,533 it's pretty I've got rather a lot of paint there 2233 01:54:03,533 --> 01:54:06,199 there's nothing you can do with waste paint 2234 01:54:06,366 --> 01:54:08,066 you can't reuse it 2235 01:54:08,400 --> 01:54:10,700 just chuck it into the bin there 2236 01:54:11,666 --> 01:54:13,566 rather than into the water system 2237 01:54:13,700 --> 01:54:20,100 now the gold you may have bought gold 1 gram this size 2238 01:54:20,266 --> 01:54:24,299 or you may get the gold from held of Holland 2239 01:54:24,300 --> 01:54:27,533 they are now and that's the bright gold 2240 01:54:27,533 --> 01:54:30,499 whichever one you buy it's got to be about 12 percent 2241 01:54:30,666 --> 01:54:34,099 gold content it's a very expensive bottle 2242 01:54:34,100 --> 01:54:36,266 so hopefully you can get a smaller one 2243 01:54:36,800 --> 01:54:40,266 but if it's gone a little bit cloggy fried up a bit 2244 01:54:40,300 --> 01:54:44,533 then you will need to let that down with some zest it 2245 01:54:45,200 --> 01:54:49,100 so that's the solvent that used for oil painting 2246 01:54:49,400 --> 01:54:52,333 and I've got a designated paintbrush here 2247 01:54:52,333 --> 01:54:54,766 that I've just labeled gold luster 2248 01:54:55,366 --> 01:54:57,933 because if I use one of my beautiful 2249 01:54:58,133 --> 01:55:00,533 sable brushes that I use for painting 2250 01:55:00,533 --> 01:55:02,366 it's going to spoil it 2251 01:55:02,533 --> 01:55:05,466 and there may be some gold in there still 2252 01:55:06,500 --> 01:55:08,900 because it's a rather heavy sort of lacquer 2253 01:55:08,900 --> 01:55:11,100 but just dipping in there 2254 01:55:11,966 --> 01:55:13,733 lay a bit down here 2255 01:55:14,900 --> 01:55:16,700 that's probably $20 worth 2256 01:55:17,000 --> 01:55:18,100 all in one go 2257 01:55:20,566 --> 01:55:24,266 and as I said don't make it too thick 2258 01:55:24,866 --> 01:55:26,899 I'm just going to make a little border here 2259 01:55:37,533 --> 01:55:39,166 so you don't want to see 2260 01:55:39,333 --> 01:55:42,799 dark brown but more of a chestnutty 2261 01:55:43,500 --> 01:55:44,300 color 2262 01:55:44,600 --> 01:55:47,200 than you know you've got about the right thickness 2263 01:55:57,733 --> 01:55:59,066 this one to the end 2264 01:56:08,100 --> 01:56:10,600 and if you make a mistake then 2265 01:56:11,866 --> 01:56:14,099 actually wiping it off with a cloth 2266 01:56:14,100 --> 01:56:17,466 it may smear and leave some gold left behind 2267 01:56:17,466 --> 01:56:18,533 which you can't quite see 2268 01:56:18,533 --> 01:56:21,199 but it will develop into a lacquer 2269 01:56:22,066 --> 01:56:23,899 a sort of lavender color smear 2270 01:56:23,899 --> 01:56:25,766 so you don't want to do that 2271 01:56:25,933 --> 01:56:28,999 you want to scratch it off wipe it off 2272 01:56:29,000 --> 01:56:30,466 when it set me fired 2273 01:56:31,133 --> 01:56:32,499 that would be the best way 2274 01:56:44,333 --> 01:56:46,866 it's quite difficult to see against the blue 2275 01:56:46,866 --> 01:56:48,466 but when it develops 2276 01:56:48,866 --> 01:56:50,466 it will come up glossy 2277 01:56:52,666 --> 01:56:53,699 bright shiny 2278 01:57:10,766 --> 01:57:12,999 it's not got a very nice smell 2279 01:57:13,200 --> 01:57:16,400 it's a bit like burnt hair 2280 01:57:16,533 --> 01:57:18,499 so do have the windows open 2281 01:57:19,566 --> 01:57:21,399 or an extractive fan on 2282 01:57:30,966 --> 01:57:32,866 and then we're ready to fire 2283 01:57:33,566 --> 01:57:34,099 some of these 2284 01:57:34,099 --> 01:57:35,599 I'm just going to refine it 2285 01:57:35,599 --> 01:57:37,866 I think just to demonstrate that 2286 01:57:37,866 --> 01:57:40,133 so let's just fill these in 2287 01:57:40,133 --> 01:57:40,799 and then you 2288 01:57:40,800 --> 01:57:43,200 I can show you how that works up at the Kiln 2289 01:57:44,366 --> 01:57:46,299 use the remaining gold as well 2290 01:57:48,266 --> 01:57:51,099 because again you can't really put that back in the pot 2291 01:57:58,466 --> 01:57:59,766 just a little border 2292 01:58:00,933 --> 01:58:03,099 so the brush needs cleaning straight away 2293 01:58:03,099 --> 01:58:05,666 but what I tend to do is not put the brush 2294 01:58:05,766 --> 01:58:06,933 into the zest it 2295 01:58:07,100 --> 01:58:08,800 because it will contaminate it 2296 01:58:09,900 --> 01:58:12,866 I just put a bit obsessed it on me 2297 01:58:13,400 --> 01:58:15,266 on this kitchen towel 2298 01:58:15,266 --> 01:58:19,066 and then wipe the brush on there until it comes clean 2299 01:58:23,366 --> 01:58:25,933 it really does get into the brush work 2300 01:58:28,400 --> 01:58:29,900 now just repeat that 2301 01:58:31,966 --> 01:58:33,899 and that's coming clean now 2302 01:58:37,366 --> 01:58:38,166 that's good 2303 01:58:40,066 --> 01:58:41,533 it pops back on 2304 01:58:47,499 --> 01:58:50,066 and then we gave to the Kiln to fire this 2305 01:58:50,100 --> 01:58:51,566 and I'm taking 2306 01:58:51,966 --> 01:58:53,666 the scrapito tool 2307 01:58:53,666 --> 01:58:57,133 but because that's wood it's going to actually 2308 01:58:57,366 --> 01:58:59,799 catch bar when this is too hot 2309 01:58:59,900 --> 01:59:03,000 so I'm going to take this stylus 2310 01:59:03,200 --> 01:59:04,566 it's quite a sharp point 2311 01:59:04,566 --> 01:59:06,966 but I can demonstrate the effect of 2312 01:59:07,266 --> 01:59:09,533 working into the gold semi fired 2313 01:59:10,100 --> 01:59:12,500 so off this comes and we're going to the Kiln 2314 01:59:14,300 --> 01:59:17,466 so here's the plaque on titanium mesh 2315 01:59:17,466 --> 01:59:19,266 because I want to be able to 2316 01:59:19,333 --> 01:59:21,799 take it off quickly and put it on there 2317 01:59:22,000 --> 01:59:23,900 to work the gold work 2318 01:59:24,666 --> 01:59:26,666 so I'm going to present it here 2319 01:59:27,733 --> 01:59:31,133 and just warm it so it's not a big shock 2320 01:59:35,900 --> 01:59:38,866 and then place it at the back of the Kiln 2321 01:59:45,133 --> 01:59:48,166 I'm going to shut the door just to conserve the heat 2322 01:59:49,400 --> 01:59:50,200 until some extent 2323 01:59:50,199 --> 01:59:51,966 you can look through the window 2324 01:59:52,600 --> 01:59:55,500 to see that gold come up shiny 2325 01:59:55,500 --> 01:59:57,166 because as soon as it brightens 2326 01:59:57,166 --> 01:59:58,766 that's when you take it out 2327 01:59:59,299 --> 02:00:01,399 it darkens first 2328 02:00:02,466 --> 02:00:04,199 and then it goes shiny 2329 02:00:04,200 --> 02:00:05,966 so let's have a look now 2330 02:00:10,666 --> 02:00:14,499 would be more like 700 but is best to check 2331 02:00:15,733 --> 02:00:16,933 that's in between 2332 02:00:16,933 --> 02:00:20,733 it's gone really black but actually interestingly 2333 02:00:20,900 --> 02:00:23,466 the bit at the back where it's hottest has 2334 02:00:23,566 --> 02:00:24,699 already changed 2335 02:00:25,066 --> 02:00:27,599 and that's gone to the glossy gold 2336 02:00:28,366 --> 02:00:30,066 we'll just turn it around 2337 02:00:33,466 --> 02:00:37,499 just a far the other end where its hottest 2338 02:00:44,300 --> 02:00:45,566 put that in 2339 02:00:47,700 --> 02:00:50,700 really will just be for about 30 seconds I imagine 2340 02:01:00,666 --> 02:01:02,799 yep I'll take that out now 2341 02:01:07,300 --> 02:01:09,133 there it's come up shiny 2342 02:01:09,300 --> 02:01:11,700 we'll just let the Kiln warm up again 2343 02:01:12,166 --> 02:01:15,266 for the final fixing of the gold 2344 02:01:15,533 --> 02:01:17,799 but at the moment is just sitting on the surface 2345 02:01:17,800 --> 02:01:19,566 and you could scratch that off 2346 02:01:20,333 --> 02:01:23,099 I don't think it's even caught on the titanium mesh 2347 02:01:23,100 --> 02:01:25,000 because it hasn't reached that temperature 2348 02:01:25,200 --> 02:01:27,366 but I'm going to put it on there for support 2349 02:01:27,600 --> 02:01:29,300 and it will cool it a little bit 2350 02:01:31,166 --> 02:01:32,599 bring it around here 2351 02:01:38,933 --> 02:01:40,699 and then with this tool 2352 02:01:41,000 --> 02:01:42,933 start to scratch into it 2353 02:01:42,933 --> 02:01:46,266 and you can see the blue background coming already 2354 02:01:47,466 --> 02:01:49,933 I'm scratching back scrafito 2355 02:01:51,333 --> 02:01:54,333 going through the gold layer and back to the blue 2356 02:01:58,000 --> 02:01:59,366 I'm just doing it roughly 2357 02:01:59,366 --> 02:02:00,733 but you could make 2358 02:02:00,800 --> 02:02:01,133 any 2359 02:02:01,133 --> 02:02:04,099 sort of crisscross pattern you wanted at this stage 2360 02:02:06,533 --> 02:02:09,966 and you can also refine the lines that you've made 2361 02:02:11,400 --> 02:02:13,533 just make that bit more curved 2362 02:02:16,966 --> 02:02:18,966 get rid of any tail tail bits 2363 02:02:20,366 --> 02:02:22,666 sign your initials in the last one 2364 02:02:26,900 --> 02:02:28,900 perhaps it's a bit too fine actually 2365 02:02:30,166 --> 02:02:31,899 do your criss cross 2366 02:02:42,066 --> 02:02:45,299 whatever you like just to refine that gold pattern 2367 02:02:46,900 --> 02:02:48,766 and then have a look at the other end 2368 02:02:50,133 --> 02:02:51,699 check you're happy with that 2369 02:02:53,700 --> 02:02:56,466 and again just tidy up anything you like 2370 02:02:57,600 --> 02:02:59,866 I could spend a long time on this 2371 02:02:59,866 --> 02:03:02,499 but I think we're going to just fix it now 2372 02:03:02,800 --> 02:03:05,166 and it's sitting on this 2373 02:03:05,166 --> 02:03:08,733 it's cooled down so we just put it on the titanium mesh 2374 02:03:08,933 --> 02:03:10,299 for a good firing 2375 02:03:10,766 --> 02:03:13,899 and put it this way around this time 2376 02:03:15,766 --> 02:03:19,599 so if you're firing multiple firings it's quite good to 2377 02:03:19,766 --> 02:03:22,266 remember which way round you put it the previous time 2378 02:03:22,266 --> 02:03:23,533 and then turn it 2379 02:03:23,533 --> 02:03:26,066 so that that bit gets 2380 02:03:26,300 --> 02:03:28,100 the hottest part of the Kiln 2381 02:03:29,100 --> 02:03:30,000 there we are 2382 02:03:34,400 --> 02:03:38,533 and this time it's 7 50 or 1382 2383 02:03:38,966 --> 02:03:41,566 which is the maximum to fix the gold 2384 02:03:41,566 --> 02:03:43,366 if you go on further than that 2385 02:03:43,366 --> 02:03:44,933 the gold's going to burn out 2386 02:03:45,600 --> 02:03:47,200 and you're going to have to start again 2387 02:03:47,400 --> 02:03:49,166 you can put gold over gold 2388 02:03:49,166 --> 02:03:51,733 because it's opaque and it covers it 2389 02:03:51,966 --> 02:03:53,566 but you wouldn't get the 2390 02:03:53,666 --> 02:03:56,299 Scriffito lines below necessarily 2391 02:03:56,933 --> 02:03:59,099 so we'll just wait for that to build up 2392 02:04:00,866 --> 02:04:03,699 and this is the method I've used for miniatures 2393 02:04:03,699 --> 02:04:07,199 when I've painted jewelry on a figure 2394 02:04:07,500 --> 02:04:11,100 and I've refined the lines and then fully fired it 2395 02:04:11,366 --> 02:04:13,966 and then when you put a flux 2396 02:04:13,966 --> 02:04:16,666 very very thinly ground flux 2397 02:04:16,700 --> 02:04:17,500 over the top 2398 02:04:17,866 --> 02:04:22,366 it actually brings up a sparkle in the gold a bit like 2399 02:04:22,533 --> 02:04:23,333 tinsel 2400 02:04:23,900 --> 02:04:25,766 and that's a lovely effect 2401 02:04:25,800 --> 02:04:29,400 because when you photograph gold it looks black 2402 02:04:29,500 --> 02:04:30,600 it's very strange 2403 02:04:30,600 --> 02:04:33,166 by eye you're looking at it this way and that 2404 02:04:33,166 --> 02:04:35,066 and you see the gold shine 2405 02:04:35,333 --> 02:04:38,733 but when you're actually photographing something 2406 02:04:38,733 --> 02:04:41,766 precious metals that terrible for photographing 2407 02:04:42,533 --> 02:04:44,399 so I find that when I put 2408 02:04:44,700 --> 02:04:48,366 finely ground flux just a few grains 2409 02:04:48,366 --> 02:04:50,199 maybe just one grain thick 2410 02:04:50,200 --> 02:04:51,466 over the top of this gold 2411 02:04:51,600 --> 02:04:53,066 it just lifts it 2412 02:04:53,066 --> 02:04:55,333 and it's the grains that are catching the light 2413 02:04:55,333 --> 02:04:57,133 and make the gold sparkle 2414 02:05:06,666 --> 02:05:08,599 it's taking a while to creep up 2415 02:05:08,600 --> 02:05:10,600 but it's only when it reaches 2416 02:05:10,700 --> 02:05:12,600 7 50 that it's fully fired 2417 02:05:13,866 --> 02:05:15,399 and in the ceramics industry 2418 02:05:15,400 --> 02:05:17,900 it's the gold that's the last firing 2419 02:05:18,166 --> 02:05:20,599 and same with enameling really 2420 02:05:21,666 --> 02:05:25,666 we're also firing the blue and that fires at 7 50 2421 02:05:26,666 --> 02:05:28,166 the great black brother 2422 02:05:29,299 --> 02:05:30,866 so that's a 2 in 1 2423 02:05:30,966 --> 02:05:32,766 so when you're planning your firings 2424 02:05:32,766 --> 02:05:34,466 you can think how many 2425 02:05:34,500 --> 02:05:36,400 of the particular 2426 02:05:37,133 --> 02:05:40,599 processes that you're using can be done in one firing 2427 02:05:40,600 --> 02:05:42,900 because the few firings the better 2428 02:05:46,133 --> 02:05:47,966 more firings is going to put the piece 2429 02:05:47,966 --> 02:05:49,699 under stress more often 2430 02:06:04,800 --> 02:06:06,866 and put the blue specs on the point 2431 02:06:06,866 --> 02:06:08,533 looking at the infrared red 2432 02:06:19,533 --> 02:06:20,966 it's ready to come out 2433 02:06:21,133 --> 02:06:25,499 and I've got the wrong instrument it should be the fork 2434 02:06:27,966 --> 02:06:29,966 so bring that out 2435 02:06:31,700 --> 02:06:34,866 shut the door and just lay it on there to cool down 2436 02:06:35,133 --> 02:06:38,666 you can see it's stuck to the titanium mesh 2437 02:06:39,966 --> 02:06:42,333 but just leave it for a minute also 2438 02:06:42,699 --> 02:06:45,666 and it should pull away naturally 2439 02:06:47,533 --> 02:06:48,999 again if you take it away now 2440 02:06:49,000 --> 02:06:51,766 it's going to leave some enamel on the titanium mesh 2441 02:06:51,766 --> 02:06:52,966 make a mess of it 2442 02:06:55,133 --> 02:06:55,533 the 2443 02:06:55,533 --> 02:06:58,533 only thing that would scratch away the gold now is a 2444 02:06:58,700 --> 02:06:59,966 diamond point 2445 02:07:00,400 --> 02:07:01,700 so that could be used 2446 02:07:01,700 --> 02:07:04,400 but it will tear the enamel as well 2447 02:07:04,666 --> 02:07:06,866 and that means that it's prone to 2448 02:07:06,866 --> 02:07:08,399 any sort of impurities going 2449 02:07:08,466 --> 02:07:10,799 into it so it's best to have a glossy enamel 2450 02:07:12,700 --> 02:07:15,733 sometimes there's a little ping there just heard 2451 02:07:16,100 --> 02:07:17,733 which means that it's released 2452 02:07:18,166 --> 02:07:20,099 and we're just knocked right away 2453 02:07:20,100 --> 02:07:23,100 and put it on the steel block to cool fast 2454 02:07:27,200 --> 02:07:30,266 so because the gold is at an angle you can see it 2455 02:07:30,266 --> 02:07:33,166 but if you stand right over it 2456 02:07:33,333 --> 02:07:34,666 it's rather black 2457 02:07:37,200 --> 02:07:39,166 so that completes this 2458 02:07:39,700 --> 02:07:42,133 this little plaque just to show you 2459 02:07:42,333 --> 02:07:46,999 6 or 7 techniques to then apply to your own designs 2460 02:07:47,400 --> 02:07:48,966 and wish you well 2461 02:07:48,966 --> 02:07:50,866 and look forward to seeing what you do 2462 02:07:50,866 --> 02:07:52,166 see you for part two 181232

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