Bring Out Texture

hey everyone welcome on into clay share con this is the afternoon of day four i am jessica putnam phillips the founder of clay share and of clay share khan this is our second annual event some of you are with us last year for the first ever clay share con and we're so excited that you came back and are spending the second one with us this is five days of free online ceramic tutorials education studio tours factory tours some demos we have got an after party with a raku firing so much stuff happening during this there's lots of promos specials and deals happening during this week and we also have giveaways every day we're giving away dozens of prizes so i don't know what we're doing today for giveaways i know we're giving away some of the georgie's interactive pigment sets so the kits of those we're going to do a giveaway and we have a whole bunch of other things so hi everybody's loving day four i love it so today i am going to be using some of georgie's interactive pigments and glazes to highlight texture and this is one of my favorite ways to do that and you'll see many pieces in my studio use georgie's glazes and interactive pigments and we'll talk a bit about what the pigments are and how to use them and what glazes go best i would like to just show you a few things now i have a class on making a test tile board and this is all with georgie's interactive pigments so if you buy the interactive pigment kit all the glazes on here you can get these results that's in the kit i think i might have some of my chin in here which might not count my chun blue glaze as a as a top glaze but you get you get this and what i love about this is i can say i really want something that is a deep dark denim blue okay but i want it matte okay but i want it to be a little bluer okay that's the one and then i pull it off and it's like oh that's indigo with this one has my chun blue on it that's why it's so blue because it's two blues this one is the indigo with eggshell wash so you see let me just hold this up really close so you can see the texture really pops on that so you can really see it and this is a great way when you put a lot of time and effort into getting great texture on your pieces this is a great way to retain it and having this in the studio is a super handy thing now before we went live i dumped it over and all of the little tiles fell off so they're not necessarily in order and a couple of them are missing so i have to either remake or go find those because i don't know where they went but this is a handy thing and i do keep it in the studio usually standing up on my table in a safe spot so we'll put this down here for now so it's not in the way i know pretty colors from just a few things so you have circles like that for your color samples but you keep yours in a poker chip box that's a great idea and then you don't worry about losing them so what are georgie's interactive pigments so the pigments that georgie's uses is are basically oxides and they will each have a combination of oxides in them so this happens to be their indigo pigment and it's a combination it probably has some cobalt in it maybe some manganese maybe a tiny bit of copper in it they don't necessarily tell you but you can get the ingredients list if you want from georgie's so you can get all the ingredients so you know if they're how safe they are or what's in them so you can find that out but they've mixed it so you get these really interesting combinations when you use them with georgie's glazes now you don't have to use georgie's glazes with the pigments but to get the best results i have found that using them with the pigments works the best it's kind of like most things right it just helps to use the same thing and this right here is a beautiful platter i made using gr pottery forms my moroccan tile texture so you can see that texture on that look at how beautiful that texture is and the indigo pigment with super clear on top so it creates this really nice weathered but glossy deep blue i can still see all my texture and i have a beautiful little plate right here so i love this this is one of my faves to do for combinations now i have a few other things i'm going to show you just so you can see how versatile these are you can use one pigment with multiple glazes so this is the autumn foliage pigment with multiple glazes and i'll tell you what they are as we go this is autumn foliage pigment with the eggshell wash glaze from georgie's this is maybe i can hold multiple up this is the autumn foliage pigment with perfect white that's another glaze from georgie's and then the last one i have is their zinc free clear so this is autumn foliage with zinc free clear so you can kind of see how one pigment and different results depending on what you use for glazes and you can use all kinds of glazes and see what happens the eggshell wash is kind of a a matte glaze so you get a different finish the perfect white is a semi-opaque glaze but yet we're still seeing look at how beautiful that is and they do come in a sample size so i'm going to show you i have a little box over here you can get a kit a pigment kit and we're giving away one today where you get all eight of georgie's pigments because that's how many there are there are eight of them so you get all eight of them in these little bottles and you get four of georgie's glazes in that kit and that is a really great deal it's always marked down they sell it as a kit it's always on a huge discount that's how i when i first started buying georgie's pigments i would just buy the sample kits over and over i would just order a couple at a time and just have them and i do have favorites but everybody has different tastes so you'll have to check them out you can go to georgies.com that's their website and you can see all of the possibilities with the pigments and so you were at georgie saturday and you told them that that they told them you had said hello and that we are having fun yes we are we sure are so you can just get these right here so they show yeah i will agree with libby she said it shows texture better than anything else yep i will nope we there will be no argument from me for example here's a cheese board i made there's a there's a cheese board class on clay share and look at how fabulous this is a hosta leaf from the hosta that grows right outside of my studio it's not a big one it's a medium-sized hosta but this one right here i use the autumn foliage pigment and then i put eggshell wash on top and i'm going to show you how i do that on some other pieces but it's really subtle this is glazed this is so i can use this as a cheese board and plus it hangs so it can hang on the wall [Music] all right we're going to switch out mic packs on me let's go then just give it to me okay you didn't want the other one all right so i see uh no matter what glazes does that mean the [Music] glazes [Music] i switched back to the other one so of course you have me sorry we're having technical difficulty right now i'll go to the other one kev the linear doesn't there's no sound because we turned sound off for a second while we switched out the mic packs that's why there's no sound hold on sometimes this happens when you live broadcast non-stop for hours on end you have to switch out mic battery packs like mic packs go dead and you gotta switch so no sound nope no sound is it back sound was back but now it's gone are we back no sound sound is back all right back back back okay hold on yes i had to switch out this pack because the other one died we have to have two full sets of mic packs in order to make this work because there's just no other way all right so i'm seeing lots of questions about the georgie's interactive pigments think of it as a stain so you put it on and you can use other companies glazes but if it's a thick opaque glaze it will obscure it potentially so you want still translucent glazes but this highlights your texture so and i see no sound yes no yes no all right we're going to move on from the sound the sound should be good let me show you this platter i did with georgie's sand and surf pigment and then i used another georgie's glaze this is their satin clear so you can see the surface doesn't have a high glass it has a beautiful satiny finish which sort of gives us a vintagey feel and this was a piece of lace i used to make this platter and you can see every ounce of this lace every single ounce of this lace and where i went thicker with the glaze it's a little more opaque and i wanted that feel because i wanted a vintage look to this so i wanted some areas to be slightly faded if you didn't want that you could just go ahead and use a clear and if you use the clear you would have a crisp finish you wouldn't have that vintage look now let me show you from my garlic keeper class we have a garlic keeper this is made with autumn foliage pigment and eggshell wash as the glaze look how beautiful that is it shows every bit of the detail on this my little garlic bulbs and you can see the top and everything so i love this combo this is probably my favorite combo from the interactive pigment line the autumn foliage with the eggshell wash my second favorite is sand and surf with the with the super clear or you can use zinc free clear both look really great so so can you use the mako stain similarly you sure can you can use any stain to stain texture you could use mako stains you could buy just some cobalt or some copper or some red iron oxide and use those you could buy you get the georgies you could go ahead and use under glazes as a stain for texture which i do all the time speedball underglaze mako you can even use a glaze to stain for texture so you could put a glaze on and wipe back and put another glaze on top as long as that glaze fills in the recessed areas it's going to highlight that texture so there's so many possibilities with using something to stain for texture so could you use a tinted celadon over the washes yes you can and each glaze will have a different effect and it's re it's called interactive pigment because the pigments georgie's pigments interact with georgie's glazes in a certain way but they will interact with other glazes too you just have to test them out so again that kit comes in these little small sizes the kits are not discounted because they already are almost half off these are basically being sold always at half off so they don't you cannot have an extra discount but we do have a clay share con discount on the individual pints so if you knew you love a certain pigment like i love autumn foliage and i love the indigo and the sand and surf i actually just got the indigo i just bought that you can stock up now and save so we'll get that code for you we'll put that up kevin just put it in the comment section and so what you do when you order from georgie's it's a they're they're it's a little tricky ordering from them put in the comments section on your order that you what the code is and that your want the clay share con discount alrighty so we're going to do a couple fun things today we've got a great big platter that i'm going to do we're going to do this large and lovely rooster platter together and then i am going to do this tray i made and we're going to use a whole bunch of different pigments all in one so we're going to basically make a test board on one piece and we'll use one glaze on top but we'll do all different pigments so it's going to be crazy and georgie's has a chart with all the pigments on it yes they do and if you go to their website you will find a lot more information they have a great sheet let's see if i have it right here hold on i'll look in my my magic drawer where i keep everything i have a georgie's pigment there it is i have a georgie's pigment sheet right here and so you can go ahead to georgie's website and you can print this out this is the pigment kit right here and it shows you all the glazes and all the pigments that come in the kit and they show various ways that you can use them so you can print this out from their website right now and it's super simple super easy and i am going to be doing sand and surf and i've circled so you can do it with super clear or zinc free clear i've circled it we're going to go ahead and do it with super clear i like the super clear better and that's what we're going to do on the big platter so i think we'll start with the big platter and then we'll do the little one so we'll do super clear uh with the sand and surf pigment which is right here how do the pigments do at cone five the pigments themselves can go to any temperature you want it's just the glazes this is a cone five six glaze kit that means your pigments the eight pigments you get they can go to any temperature but the glazes you're getting are a five six glaze just so you know but i would say at low fire the pigments will work there's no reason they wouldn't because they are all natural minerals that we use anyways in ceramics so yeah they'd be fine um kev if you get a sec can you give me a dish because i need to thin this down this is a brand new when you get these these pigments are highly concentrated you do not use them straight i mean there's techniques where you can use them straight but you need to thin them down and i'm sorry this just came the box just came and i didn't unpack it until right before we went live so you can have i tried i i've not tried them myself low fire no and we grab me i get these these will work any scissors i haven't tried them low fire i don't do low fire in my studio often i haven't done it since last february 2019 was the last time i did a low fire glaze firing so for me i don't do a lot of low fire pieces but i know a lot of you do so folks out there who might have used this at low fire will you go ahead and chime in and say what you found for your results i also don't do much cone 10 anymore either so are the pigments just oxides or under glazes they are oxides but it's a combination it's not just one so with the with the mako washes they are just manganese and that's all that's in there there's just cobalt and that's all that's in there there's just copper and that's it they don't have other things in there with the georgies they've mixed a few things in there so it's not just one i should have had an assistant open this for me i'm sitting here i i will have my assistant open up my my super clear so that i don't have to do it on camera while i can work so because these are people want to know what you like about the super clear as opposed to okay so this is the super clear on this one is less green and i really like the finish of the super clear versus the zinc it's a personal preference the zinc free clear i like on some things the super clear i like on others and that's why i say you need to make this board because when you have your test tile board you can pick out a glaze and you can look at it and say i love this one what did i what clear is this this is the super clear i like it better than say the zinc free clear so here is actually they're backwards this top one the top one is super clear the bottom is zinc free clear do you see the difference the top one is browner the bottom is greener so this is autumn foliage on the top is super clear autumn foliage on the bottom is zinc free clear let me put this down i'll hold them up yes they interact differently look at the difference look at the difference we're getting here this one here is the super clear this one here is the zinc free clear both of them are the autumn foliage you see so there's slightly different tones coming across so this is why you should make this one's greener the zinc free clear is greener the super clear is browner different things react differently so i always suggest you go ahead and make yourself real like things you can hold pieces of paper are fabulous for a reference to gauge for i might buy it but when i look at these two i mean look at the two there on the paper it's very subtle it's hard to tell the difference in my hands in my studio fired in my kiln i know the results i'll get this is why testing is so important and i do have samples of both clears on the indigo yes because i made the board i have samples of every single one of them with every possible glaze that georgie's offers in the kit so both of the clears on the indigo this is the zinc free and this one is the super so i'll show them to you but i'm going to tell you make your own there's a ton of combos we can't go through all these but if you look at my class on making your own testile board or using i think it's called using georgie's interactive pigments as the actual class but if you go look at that class it's all there and we go through all of them and i do them all with you so indigo pigment wiped back and then on top has been applied super clear zinc free clear super clear zinc free clear so they're very close but there are slight differences so you pick out the one you like the best so it's really the best advice i can give you all is to do tests and not just with the georgie's with everything out there all these products that we've been using and all these demos if you saw something you want to try out at home you need to go ahead and test it out yourself because what i do and how i fire can be different all right so the pigments are highly concentrated you're going to want to thin them down it depends sometimes i cut mine half and half sometimes it's 30 70 it just depends 30 percent water 70 pigment it depends how the pigment is as far as thickness so this you get the overhead on we'll go with that this has a very watery consistency in this jar so i'm probably only going to do a 30 and it's an eyeballed 30. so i have a little container over here this is the sand and surf stir it up first before you pour it off because it all settles all the little minerals settle you've heard me talk about zinc free clears preferred oh so why would you want zinc free clear zinc interacts with things zinc can also eat away at things zinc can eat away at under glazes that's where you've heard me say that so i prefer a zinc free clear when i'm doing under glaze work for pigments all bets are off we can add whatever we want we can use zinc we can do all kinds of crazy stuff i'm going to put about 30 water in here eyeballing it maybe 25 with this one it's really watery already so because these are a pigment which are raw minerals and i'm going to be dipping my hands in a bucket of water that's going to be saturated with them i'm going to wear gloves to protect my hands but first i'm going to apply the pigment so let's get you where you can see i'm not going to put any on the back i'm only going to put it on the front so what happens when one uses a matte clear well that's what i was showing you with the satin clear or the eggshell wash so if you missed that put it back on the front and i will show you here is an eggshell wash which is a matte clear it's not there's no so i'm just going to say there's no such thing as a true matte clear the things that have to go in a matte glaze will opacify it they make it more opaque so there's no way for a true just so you know your clear is going to be satiny glossy normally so this is called eggshell wash from georgie's and you see that's what it looks like this is super clear same pigment so you get the same pigment two different looks yeah there's no such thing as a clear matte it really is a slightly opaque so let's put this on and i'm going to do one pigment on the entire piece and you just brush it on you can sponge it on some people like to use a sponge and dab it in it goes a bit faster and i i think i had a sample kit that lasted me three years once because they become they're so concentrated and you thin them down so much that you don't use them that quickly the glazes itself you'll need to buy more but the actual pigments they last the super clear with the autumn foliage is gorgeous i agree with you i love it so i'm not worrying about putting this on the areas that don't have texture yet because that would just get brushed off anyhow we'll go back and we'll do something with the room after this is a great big awesome plate i changed my mind i am going to do the rim i just won't wipe back very heavily on that there brush it on so once you get the pigments on well you can leave it full strength like i just did but i like to stain it and wipe it back and that makes the texture pop more so we're going to go ahead and wipe back and i'm going to put on a pair of just nitrile gloves and i'm going to grab my bucket over here the mat is hauntingly beautiful it is it i have a i have a cup a mug i made with it and i just adore it all right so you squeeze your sponge out really well starting in the center and we're just going to wipe away and you can already see the texture popping turn your sponge over and you'll notice your sponge getting dirtier so you'll squeeze it back out and then wipe away some more so if you love lace like i love lace you are going to love these pigments because i feel they go hand in hand with lace i also love using speedball underglazes to stain too if you want a colorant and recently i have started using the mako stroking coats to stain which love those too so lots of love happening here so this pigment was sand and surf sand and surf and i can hold the bottle up when we get done sand and surf tends to be a little greener it has a bit more copper in it than the autumn foliage the audience autumn foliage i believe has more iron so when these pigments are applied to the surface and they are wiped back and then a food safe glaze is applied on top they are considered food safe if you put them on full strength without wiping back i would not consider them food safe even with a food safe glaze on top so you want to make sure that when you're using these use them appropriately and i'm leaving pigment in the recessed areas on the sides here a bit and although it looks like i wiped a lot off it's not and i'm going to hold this up to the front camera in a sec because i think you all will see it much better ready we'll flip it to the front so look at that look at how great mr rooster looks he looks pretty snazzy looks great to me so if you have any areas that you notice where the pigment looks like it's a little thicker and you want to go in and touch it up and wipe back a little bit you just take your sponge and you just i find the further you hold it away you can see those spots yeah go ahead i got the answers karen wants to know how you decide whether to use pigments or under glaze it depends an under glaze is going to give you a color right if you pick a color pigments are going to be more in the neutral tones so this is what i want for my aesthetic i really love this look here i don't know if i even have a piece with this combo on it currently around because um i never get to keep anything with it so it's just up to you i have done um kev i don't know if you'll walk over and get me any of the lace pieces i've done with speedball colored under glazes so you can see how lace looks with a color added probably maybe a cake stand maybe a plate i don't know what's over there there might be a doily plate over there somewhere he's gone we'll never see him again yeah the rooster stands out beautifully he really pops doesn't he and now i was talking about the rim i'm going to take my brush and i'm just going to wipe it off so it doesn't drip too much and i'm going to brush a little heavier on the rim now we were talking about wiping back to make it food safe well the rim isn't a place people are going to be eating off of so we don't have to worry i could do gold luster on this room if i wanted to which technically is food safe too you make a little mess go clean it up so i'm just holding the brush sideways and dragging it along that rim on the outside edge of the rim just like that and then if there's any areas that i'm not happy with that i want to touch up just go and take care of that pretty easy so this needs to set for a few minutes and dry great you're the best kevin let me get back to the question okay so kevin just brought me one of my cake stands made with a lace doily right here and you can see right there do you see the front how the lace right there this is with speed ball under glazes so you see a color popping instead and there's also on the inside i did color as well on the foot and uh you can handle one of these in my class on making a cake stand but this is a color option this one's actually a second that's why it's still in the studio i have to take it or no i can stay over here it's fine it's fine it's fine all right so this one's done and i'm going to let it set and dry for a minute and while that's doing that we're going to use this tray and i'm going to grab a bunch of pigments and i'm going to go ahead and do some testing with them so let's grab a few what do we got golden straw let's see sand and surf winter storms a good one steel black is a fun one tree bark is a good brown if you like browns let's see what else we got over here i think that's all i have over here and i've got the indigo already so i think what we'll do is and i think i brought did i bring my autumn foliage yeah so my plan is this we're going to take this tray and we're going to make it like a quilt so we're going to take our pigments and since i already have sand and surf out i'm going to 1 2 3 4 5 6 7 8 9 10 11 12. i have 12 squares 12 pigments i'm going to just use six so let's pick one to do the sand and surf in and so i'm just going to brush the pigment in one square just like that two we'll do one up here too and then we'll move on i'll switch out my brush this is the first class you can watch and comment yay all right so can i please provide the link to sharon hoppy oh so sharon hoppe's website is sharon hoppy designs and i don't know if kev can type that in here's the autumn foliage i've already thinned this down in the bottle so i'm not thinning it down again a lot of times i will do that so that i don't have to thin again so as i use them they get you get less in the bottle and so you just add your water to it and it makes it makes it easier and this is a fun way to test stuff out we'll put one up there too because we got that edge do they use oxides or stains these are oxides in this not stains no no stains just oxides so that was eggshell wash and sand and surf let's grab indigo here oh this one's not open either yeah you want to do that for me and i'll move on to something else yeah cause they're taped shut i know they're so fussy aren't they i've got steel black which is really thick i have to thin that down can the extra color be returned to yes they can be returned and that's what i will do the other thing you can do is you can just start some containers put a label on it put the lid on and then the thinned down version lives in a container for you so you don't have to worry about let me water this down a bit more that's really really thick so you don't have to worry about wasting any you shouldn't shouldn't waste right nobody wants to waste stuff yeah i know they're like it's going nowhere so these look the same right now but you wait till they're done they're going to look completely different here decisions decisions right and this one i'm using right now is this the steel black and i sometimes accidentally flick make a little mess and just clean that up there so when you thin that pigment down what consistency are you looking for but you want like thin ink really thin very watery almost like a watercolor and that that's what i go for so if you look at this one here it's really thin now i'm going to pour this back in i'm going to swirl because those pigments these pigments are really heavy look how they've settled to the bottom there's like a sediment in there of pigments so you swirl it to release it from the bottom and then just pour them out and then i'll rinse the container out and i can use it for something else or i would have labeled it and put them away so let's keep going because we've got other things we want to do tree bark i want to put some tree bark on there i don't use tree bark a lot it's not that i don't like the tree bark i think the tree bark's great i just i don't think about it very much which i'm sorry i'm sorry tree bark i don't think of you often the same thing with the straw i've never really got the straw to be spectacular for me it's not bad it just never works fabulously can i show the winter storm on my little testile board i've got to grab one hold on i can i'll i mean i could be here all day grabbing little test tiles we don't want to do that do we no so um you know what i'm not going to do it because i get they're not wanting to come off the board and i don't want to waste our time but if i get done in time i will show the whole board and we can go through it we can talk about them so the tree barks like a brown winter storm is like an indigo except it has brownish undertones to it i actually can show you easier on this the winter storm if you want to go to the front camera the winter storm is right there so i'm just going to hold that up and you can see it if you're watching on a smart device you can screen capture right and save it so that you have this you can also go to georgies.com and search interactive pigments and this page will come up and you'll see them yourself so it'll be easy and you won't have to worry about not seeing what you want to see so that was now we're going to do we did steel black this one's the winter storm so the other one was steel black and we'll put that on it's crazy how they look when you start compared to where they end up and i'm going to have a couple extra slots what will we put in there i think i'm going to have two extra slots on here so i have to figure out what we do with that spot in that spot what's this one oh we did yeah uh will these show up on red or brown clay ah so they don't show up very well no not really you really need a light clay you could put a slip on first and fire you know if you'd done a slip piece but they really need contrast you need something so if you imagine a blue a dark blue on a dark clay you're not going to see much right you're just going to have dark blue and dark brown clay it doesn't it doesn't show that well i guess we'll use i guess we'll use the straw i feel bad not using it because it's like something's wrong with it let me find out where i put it it's just i don't particularly love it it's a very light yellowy color i don't even know where i put it now there it is no straw it's a little i just had it i just had it and i was like i don't like that one and then it got mad and left i think indigo we did if you want to check my wall i might have one over there and so i'm going to show you on this these golden straw it's the second one in i i have never i have never found the golden straw to be really golden for me and i'll show you on my board we'll grab the board up here are my golden straw test tiles this row hold on this row right here is the golden straw row um it's not bad they're just very light they're very light they don't pop they don't have that wow and i think that's why i i've just stayed away from it because i i really like the wow part all right so what was what is golden straw what number do i call it it's two i don't have a two i do have a two it's right here in front of me if it was a snake nobody bit me all right golden straw very yellowy supposed to be never has been but we might get lucky and get yellowy this time it got mad and left right it happens all right i think that's good isn't that crazy looking look at that so now i'm gonna clean my brush put my glove back on because i'm going in the bucket i'm going to wipe them all off at the same time i'm not going to worry about contamination a little bit of contamination on the edge is fine and i actually want that because it'll blend one color into the other golden straw i have not tried on dark clay mostly because the pigments are recommended to use on a lighter clay but i don't know maria sampson if she's watching maybe use it straight i think use it straight for sculptural purposes would be best if marie is watching maria is the go-to guru when it comes to using these pigments she's the one who first told me about them showed me how to use them at an inseca i don't know which which one it was uh milwaukee maybe no it was before then it was um what was the one i went to where i took the train went through chicago what's right above chicago straight above that was the one that i met is it milwaukee okay so he knows you're i'm not doubting i don't know and so we have a little run over from one pigment to the other but it's so fun so this would be a fun way to test all your pigments i would make a chart on a separate sheet of paper writing what you used in each square because if not you are not going to know what you did all right so let's see do we want to use zinc free clear or super clear on all of these i think super clear looks better i personally think super clear works better on all of them uh let's see that's what we're gonna do we're gonna go with the super clear because i'm driving the boat let me grab one of my brushes so the the super clear my super clear has done a hard pan no and we're this is brand new brand new in the jar look it this is called hard panning folks we were talking about that earlier today what is hard panning and that happens when you have a glaze that settles normally they settle out when they have too much water in them and i'm not sure if this one happened because it froze maybe let's just let's scooch on to another clear let's see we got let's try my zinc free clear maybe maybe we're doing that you want to open that for me my chicken said super clear i know i do hear him ah it's so such a bummer i'm gonna see if i can stir this it's like it's like cheese it's like cheese consistency in here it does yeah tarpan seven it should not do this this this you should not have to add a deflocculent to a pint jar of mixed glaze it should already have that in it and it never does this to me except when i'm doing only when i'm doing live clay share con broadcasts i think the glaze would be fine if i mixed it up i don't know will my mixer fit into this tiny jar i mean it might just fit in it it will it'll it'll create such a vortex and it'll all volcano out of it that's no fun it's ruined the day's over no i have a satin clear i might have kev grab i have got a satin clear translucent satin we'll do that here's this one so this my dears is how our glaze should look look at even this is a little thick but even if it's thick it should not have turned into a lump of cheese i'm wondering if my glaze froze because lately they've been just leaving them in the snow bank under my mailbox like i'm not kidding on the road where the snow plow goes by the the mail service the united postal service has just been putting my boxes in the snow bank we can have it it helps to see it so good news is the zinc free clear it's doing the same thing i think they froze they froze all of my glazes i just ordered froze they froze um you want to just uh open this eggshell wash to confirm if it's the same way so the pigments are fine the glazes froze can you save them yes is it a bit of work yes you need to mix them up possibly re-sieve and put them back in the jars and i'll be fine but i don't have time to do that right this minute so we are going to use the translucent satin instead because i have it and it works but i'm not going to put it on my chicken because that has to be that one has to be super clear i've made that pla that piece just for it so we might not glaze that one during this and i'll be sad but you know are we what time are we done 3 15. you pay attention to time my time guy's paying no attention he's i'm already over so let's quickly glaze this i would just clean your back it's a clear glaze i'm just gonna brush on one super fast coat of this translucent satin so those looking for a matte-ish glaze this is going to give it to you it won't have a lot of shine one coat on the back is all we need and then we're going to do two coats on the front but i'm just going to show you one since you're on the overhead right since we're over we're over time so see how this is going on the consistency of it that's how you want it to be if you're using this and it's a little too thick you're not going to get really even consistent results so one coat get the sides too and i have to end this broadcast because guess what we're doing amaco glazes next we're going to be right back so you'll have to wait till the next kiln opening to see how this turns out i guess we'll go back to the front so we will see i will do a second coat just like i did and that's it and then on the chicken the chicken ply the chicken platter that i'm gonna do um i'm just gonna do the the super clear two coats the same way as i showed you here we're just to brush it on and if i can find any i don't think i have any more super clear i think that was all i had if i can reconstitute what's in that jar we'll we'll see if i can stick it on a broadcast sometime soon we'll get that done all right everybody thank you for hanging out learning about georgie's interactive pigments uh make yourself a georgie's pigment board or a textile board of any sort i have to now go through and reorganize my pigments because they're a bit of a mess but you all have a great afternoon and i'll see in a few more minutes

Channel: Jessica Putnam-Phillips

Views: 1,425

Rating: 5 out of 5

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Id: RRdGE7UfcJU

Length: 47min 25sec (2845 seconds)

Published: Sat Feb 27 2021