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Re: CHINA PAINTERS ABC"S « Reply #15 on Aug 10, 2007, 6:50am »
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Odourless mineral spirit. See: Terpentine and mineral turpentine.
Oil of Olay. See; Lanolin.
Oleoresin. A naturally occurring mixture of an oil and a resin extracted from various plants, such as pine or balsam fir, Canada balsam, gum turpentine, copaiba balsam.
Member of IPAT and Dutch Porcelain Painters Association.
Joined: Aug 2005 Gender: Male Posts: 591 Location: Apeldoorn, The Netherlands
Re: CHINA PAINTERS ABC"S « Reply #16 on Aug 10, 2007, 6:50am »
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Painting oil. See: Mediums for porcelain painting.
Painting medium. See: Mediums for porcelain painting.
Palette. Any glassy or non absorbent surface to place the dabs of china paint. In china painting, this surface should be kept as clean as possible, so only put out as much paint as you will use that day.
Pau-de-oleo. See: Balsam of Copaiba.
Pigments. Synonyms; Stains. Originally the pigments for porcelain painting were minerals containing high amounts of metal oxides like Cobalt-, Copper-, Manganese-, Cadmium-, Iron-oxide. Giving only the colours blue, green, brown, yellow and (brown)red. At this moment the introduction of intermetallic compounds and “rare earth elements” like Cerium, Yttrium, Lanthanum and Scandium make a very great range of colours possible. But in some cases a very strict combination with a special glaze is needed. When using the wrong glaze it does not work at all or gives a complete other colour. See under Yttrium. To give an idea of the combination of elements used for modern pigments see the list below. apricot Zr-Cr black Cr-Fe-Co blue Al-Zn-Co cobalt blue / blue Si-Co coral red Zr-Sr-Fe deep cyan Si-Zn-Co-Cr green Cr-Ca grey Sn-Sb orange Cr-Fe orange Zr-Fe-V orange Cr-Ti-Sb Praseodymium-yellow Zr-Pr-Si purple Cr-Sn red brown Cr-Zn-Co-Zr red / pink / Chinese red Sn-Cr-Ca-Si red brown / brown Cr-Fe-Zn selenium red Zr-Si-Cd-Se turquoise yellow Zr-V turquoise blue Zr-Si-V victoria green Zr-V-Si
Pigments for air brush. Violet, dark brown, black and blue porcelain paints are often course grained and give problems using an air brush. To overcome those problems those pigments are now refined in a rotary tumbler using turpentine oil as a liquid and quartz rocks to decrease the grain size of the pigments. The pigment is stored in bottles and just before use poured on a bisque porcelain cup to absorb most of the turpentine. The paint is then used with the normal painting medium (Copaiba plus clove or lavender oil) Those paints are also fantastic for normal porcelain painting. This industrial method can also be downscaled to the hobby painter using small lapidary rotary tumblers!
Pine balsam. Synonyms: Natural Dicköl, Natural Thick oil, Natural Fat oil, Pine grease. Tapp a Scottish Pine tree (Pinus Sylvestrus) or any other Pine tree in your garden by drilling a small hole upwards in the trunk and collecting the oleoresin. It thickens quickly exposed to the air but you can thin it with Rosemary, Lavender or Clove oil. It can be used like Balsam of Copaiba and the common Dicköl made from turpentine. The smell is nihil.
Pinene. See: Turpentine.
Polishing. Burnishing or polishing of precious the metals Gold, Silver, Platinum. This can be done with standard lapidary polishing powders like: Cerium oxide, Magnesium oxide, Aluminum oxide. Household alternatives are: very fine sand of silica , baking soda and tooth paste. Furthermore with a polished agate stone or a glass fiber brush or glass fiber cloth. The absolute finest polishing can be obtained by using dry Cerium oxide <0.1micron polishing powder on a soft woolen cloth.
Polychrome. (Caitao) Multi colored painting.
Porcelain. -Hard-paste porcelain is a hard, dense ceramic that was originally made from a compound of the feldspath rock(25%), petuntse(25%) and kaolin(50%) fired at a temperature of 1400 oC. It was first made in China around the 9th century, distinguished by the type of clay used, kaolin, resulting in a pure white color. Kaolin (Al2O3.2SiO2.2H2O), or China Clay, which occurs in various parts of the world, is often 95% free of impurities. It is also fired to a vitreous state, transforming the constituent silica to glass. The secret of its manufacture was not known in Europe until 1709, when Böttger of Meissen, Germany discovered the formula. Hard-paste porcelain can be utilized to make a translucent bright white ceramic. Unlike other bisque ceramics, porcelain bisque is almost impermeable by water, making it unnecessary to glaze the body before painting. Manufactures such as Lladro, Hummel, and Precious Moments use hard-paste porcelain exactly for this reason. -Soft-paste porcelain dates from the early attempts by European potters to replicate Chinese porcelain by using mixtures of china clay and ground-up glass or frit; soapstone and lime were known to have also been included in some compositions. As these early formulations suffered from slumping in the kiln at raised temperature, they were uneconomic to produce. Formulations were later developed based on china clay / kaolin(40%), quartz(30%), feldspars(30%), nepheline syenite and other feldspath rocks. Fired at a temperature of 1300 oC. These were technically better and continue in production. -Vitreous porcelainbased on modern production techniques and better understanding of the chemical composition and resulting micro-structure of the bisque. Villeroy & Boch has a range of superior vitro-porcelain in production which are excellent for porcelain painting. -Bone China.Bone China is porcelain containing approx. 50% bone ash. The initial development of bone china is attributed to Josiah Spode (1754-1827) Who introduced it in 1797 in his pottery. This was to prove the English solution to the quest for porcelain. Technically bone china is a form of hard paste porcelain. The composition is 25% china clay, 25% Cornish stone, 50% bone ash. The firing temperature is 1250ºC (lower than the 1400ºC for hard paste porcelain). The potters could use their existing methods and ovens. Bone china is extremely hard, intensely white and will allow light to pass through it. The brilliance of enamel colours and gold was greater than on other porcelains. Bone china is more difficult to use in a plastic state, but quicker to cast with than earthenware.
Porcelaine Noire. This is a speciality of Rosenthal in Selb Germany. The bisque core is completely black. It is glazed mat or glossy. Used exclusively for ornamental and creative art objects. Real precious collector items.
Propylene Glycol. Molecular formula C3H8O2 , known also by the systematic name propane-1,2-diol, is an organic compound (a diol alcohol), usually a tasteless, odorless, and colorless clear oily liquid that is hygroscopic and miscible with water. The U.S. Food and Drug Administration (FDA) has determined propylene glycol to be "generally recognized as safe" for use in food, cosmetics, and medicines. Like ethylene glycol, propylene glycol affects the body's chemistry by increasing the amount of acid. Propylene glycol is metabolized into lactic acid, which occurs naturally as muscles are exercised, while ethylene glycol is metabolized into oxalic acid, which is toxic. In porcelain painting both types of glycol are widely used in water-based painting mediums. So be carefull with so called harmless water-based painting mediums and ask for an ethylene glycol free type.
Member of IPAT and Dutch Porcelain Painters Association.
Joined: Aug 2005 Gender: Male Posts: 591 Location: Apeldoorn, The Netherlands
Re: CHINA PAINTERS ABC"S « Reply #17 on Aug 10, 2007, 6:51am »
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Quaking of brushes. The main reasons for quaking of brushes are; * using to much pressure on the brush during painting * painting with a very thick and fast drying medium * the brush was not perfectly cleaned and dressed
Quartz inversion. See Silica inversions
Quill brush. A quill brush was originally a brush wrapped in a natural quill from a feather. The sizes of quill brushes were named after the birds that supposedly provided the feathers. From small to large, the sizes were: Lark, crow, small duck, duck, large duck, swan, small goose, goose, large goose, condor." The brushes with four or more wire wraps holding the hair were the better quality. Now brush suppliers use plastic ferrule’s not real quills and they are still called a quill brush. To fix them onto the brush handle you can use heat shrink tubing. It comes in various diameters and when you heat it with a heat gun the tubing shrinks and conforms to the taper of both the brush and the quill tip. If you happen to have a quill tip that has split when trying to attach it, then this also is a perfect fix.
Member of IPAT and Dutch Porcelain Painters Association.
Joined: Aug 2005 Gender: Male Posts: 591 Location: Apeldoorn, The Netherlands
Re: CHINA PAINTERS ABC"S « Reply #18 on Aug 10, 2007, 6:51am »
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Red pigments. It is common knowledge that red pigments can give all kind of problems. The reason is that we do not know the composition of the pigment and the glaze we are painting on. Furthermore the firing temperature and holding time and the kiln atmosphere are important factors. Iron oxide based pigments; can give yellow, orange, red, brown, celadon-green colours. Alkali-Bor glazes gives wine-red. Titanium oxide based matt glazes gives yellow or brown. Tin oxide based glazes red-brown. Zinc-barium matt reduction glazes gives celadon-green. At high temperatures the red colours are fading. Vapour of lusters might also give colour changes. Lead-free Cadmium-Selenium red for transparent glazes reacts with lead or zinc or titanium containing glazes and the colour turns to brown, grey or disappears completely. Also contact area with other pigments give colour changes. Chromium red pigments; are fading on aluminium- or titanium-oxide rich glazes. General rules for painting red colours; - do not mix them with other colours - use an absolute clean brush or keep a special brush for red - avoid contact with unfired other colours - test matt glazes, matting products, yellow paints if they will “eat” the red.
Re-Firing old ceramics. Normally all ceramic items have always a small area that is not glazed. Old ceramics will have absorbed some water or other fluids. The amount depends on the grade of sintering. Stone- and earthenware articles are very porous. Porcelain is much more sintered. But cheap low grade porcelain will also absorb fluids over a long period of time. When firing old ceramic items you need to know the sintering grade, because the smallest amounts of water or any other fluid absorbed will evaporate with an enormous increase in volume and break the item. As you probably not know the sintering grade of the ceramic, be safe and use always a drying period of an hour for stone- and earthenware and 15 minutes for porcelain at 120 C (248 F). Only top quality porcelain and bone china are so highly sintered that no fluids will be absorbed and do not need a drying period for re-firing. Furthermore old items might have hairline cracks you do not see. When firing to fast, hairline cracks might propagate and give a fracture. So heat and cool slow, preferably less than 200 C (392 F) per hour.
Reliefs on ceramics. There are various kinds of relief powders to paint or print raised parts on glazed ceramics. They consist of a transparent and an opaque white one both for on-glaze or in-glaze technic. Heraeus H5008 is transparent and H5009 opaque white. Temperature range 750°C (1381°F) up to 880°C (1616°F). For inglaze technic H5007 transparant and H5006 opaque white. Temperature range 950°C (1742°F) up to 1220°C (2228°F). How to make a relieved lady beetle on porcelain. Mix equal parts of transparent and white relief powder and approx 10-15% of metallic red pigment. Add a tiny bit of copaiba or Dicköl to make a thick clay like substance. Roll small balls with your fingers with a size of approx 5 mm (1/5inch) and press it light on a glazed porcelain surface and fire it at cone 16 (792 C, 1458 F). Cool slowly. The result is a bright red ball of approx 4mm (1/6inch) attached on top of the surface. Paint seven black spots, the black head and white eyes on it and fire again. Your Lady beetle is ready. [ Lady Beetle. (Lady Bird) Coccinella septempunctata (Coleoptera: Coccinellidae). Sevenspotted Lady Beetle ]
Relief powders Schjerning. Lead containing. nr. 1 Relief white (= Aufsatzweiss.) (Special for white motifs on blue or black China.) nr. 5 Relief yellow (= Aufsatzgelb.) (Special for light green motifs on blue or black China.) nr. 110 Opaque white (= Deckweiss.) nr. 115 Base for gold (yellow). nr. 140 Relief transparent. nr. 141 Relief glossy white. nr. 401 Relief matt white. nr. 402 Relief matt yellow. nr. 403 i-Relief. Lead free. nr. 2110 Opaque white (= Deckweiss.) (New for nr. 110) nr. 2141 Relief white (= Aufsatzweiss.) (New for nr. 1 & 141.) Heraeus. nr. H5008 Relief transparent. For on-glaze (650-880 ̊C) (Lead containing) nr. H5009 Relief white. For on-glaze (650-880 ̊C) (Lead containing) nr. H8006 Relief white. For in-glaze (950-1220 ̊C) (Lead containing) nr. H8007 Relief transparent. For in-glaze (950-1220 ̊C) (Lead-free) Degussa. ( Now; Evonik Industrie) nr. 7002 Relief white. nr. 10122 Relief transparent nr. 19083 Relief white. nr. 13406 Base for gold. nr. 50135 i-Relief. Alexanders. (www.porcelainpainters.com Australia) nr. 100 Texture coat nr. 112 i-Relief nr. Cx 02 Carey’s raised base for gold nr. Cx 12 Carey’s white Enamel nr. AP 02 White raised Enamel (760-800 ̊C) nr. AP 07 Clear raised Enamel TCC Porcelain. nr. 890 White Relief nr. 893 i-Relief
Repair mixture. A repair mixture to 'glue' back on a piece of broken porcelain can be made by mixing dry Fluxed Base for Gold powder with a little Elmer's white glue. Mix until soft clay like and then stick the pieces together. Be sure and let it dry before firing. This will also repair open cracks. Fill the crack on both sides of porcelain and make sure it's mostly on the edge that is going toward the centre of the porcelain. See; Elmers White Glue.
Repel painting. Select a colour you like, mix the colour with pure jojoba oil. (You can also use more colours.) Paint very roughly with a flat brush a glazed tile completely, but with light and dark parts. Use a very fine and pointed brush and a bottle of lemon oil. Apply very tiny drops of lemon oil on the painted tile and wait until the lemon oil repels the Jojoba paint in snow flake like patterns. Tilting the tile creates longer shapes. It needs some time to dry before you can fire the tile, or heat with a hair dryer.
Resist for bisque porcelain. To obtain an unglazed part on porcelain, cover that part with a solution of bee wax in turpentine oil and some drops of anilin to colour it. The glaze does not stick on the wax and the wax burns completely away during firing.
Reverse painting. Reverse painting, or back painting, is done on the reverse side of a piece of glass. Outlines are painted first and highlights and shadows following.
Rose du Barry. In the first half of the 19th century the Chelsea Claret grounding was again introduced by Coalport and Minton under the name "Rose du Barry" See; Pink to rubi porcelain colors. Rose Pompadour. Sevres famous pink grounding color introduced in 1791 has the same appearance as Chelsea Claret. See; Pink to rubi porcelain colors.
Rosenthal porcelain. Philip Rosenthal Platz, D-95100, Selb, Germany. See; www.rosenthal.de
Rosemary oil. The shrub Rosmarinus Officinalis var. Angustifolius is used for the production of Rosemary oil. The best quality is obtained from the flower-tops with the main components; pinene, camphene, limonene, cineol and borneol. A lower quality is obtained from the whole plants also containing: camphor, linalool, terpineols, octanon and bornylacetate. In general the oil is non-toxic and non-irritating to the skin. Widely used in soaps and cosmetics but also in the meat products and alcoholic liqueurs. For porcelain painting it is used for thinning Copaiba and Fat-oil. No allergic reactions known.
Rustiban. Rustiban, manufactured by the Fleischmann Chemical Company consists of 9.8% hydrofluoric acid.) These DANGEROUS products must be used with extreme caution. (See entry under Hydrofluoric acid) Rustiban has been withdrawn from sale in Australia. See also: Whink.
Royal Delft. The Koninklijke Porceleyne Fles is the only remaining factory of the 32 earthenware factories that were established in Delft in the 17th century. 'De Porceleyne Fles' (The Porcelain Jar) was founded in 1653 by David Anthonisz v.d. Pieth, at the Oosteinde in Delft. After two years, the factory passed into the hands of Wouter van Eenhoorn and Quirinus van Kleijnoven. Wouter van Eenhoorn was a businessman who also had financial interests in other potteries. Little is known about the financial or artistic results of the various companies, and conclusions can only be based on deeds of purchase, sale and contracts. Consequently, we can only suspect that during the period in which the factory was owned by Van Kleijnoven and Van Eenhoorn, it was one of the most important companies of that time and very prosperous. At the end of the 19th century there was only a small part of the once so prosperous industry left. In 1876 Joost Thooft, a Delft engineer, bought the factory with the intention of restoring the old tradition of producing hand painted Delft Blue. Knowing that people had no more confidence in the older, fragile earthenware, he realized that he would have to change the technique completely. He succeeded in finding a mixture of clay that resembled the stronger, white English earthenware. From then on, they made a product that would become world famous. In 1904, 'De Porceleyne Fles' was made into a limited liability company. As a token of appreciation for the attempts the company had been making since 1876 to restore the fame of Delft and the ceramics industry in general, the Porceleyne Fles received the designation 'Royal' in 1919. See; www.royaldelft.com
Royal Goedewaagen. (four centuries of tradition in ceramics) In 1610 family De Jong started in Gouda the ceramic factory “De Star” making simple glazed earthenware in yellow or green. In 1779 Dirck Goedewaagen becomes an important ceramic pipe-maker in Gouda. Dirck's grandson, Pieter, also a pipemaker, married the daughter of the De Jong family. In 1853 Pieter Goedewaagen buys the 'De Star' factory from his father in law. This was the basis of the Goedewaagen largest pipe factory in the Netherlands. In 1923 by acquiring 'De Distel', an Amsterdam ceramic factory, Goedewaagen acquires outstanding specialists in producing Jugendstil and Art Deco items. Famous designs from Bert Nienhuis, Carel Adolph, Lion Cachet and Willem Hendrik van Norden (a.o.) become classical from this period. The newly granted “Royal” charter combined with developments into dinnerware items in the 1930's make Goedewaagen a forerunner in Dutch ceramics. By buying the assets from the factory “Plateelbakkerij Zuid Holland” in 1964, Goedewaagen enters new fields, including the production of the miniature ceramic delft houses. After moving in 1984 the production facility from the crowded city of Gouda to Nieuw Buinen in the quiet north-east of the Netherlands, the company starts expanding into large export markets, notably the USA, which becomes important for museum-reproduction types of Delft ceramics. Royal Goedewaagen presents its company museum in 1989, in which the rich history of Dutch ceramics, and Royal Goedewaagen's role in that is displayed in ever changing exhibitions. Also in 1989 the take-over of the Gouda-based factory 'Flora' gives Royal Goedewaagen new access to fields in design ceramics developed by famous Dutch artists. Start of a the millennium, Royal Goedewaagen is essentially an art work shop, where many products are made by hand with oustanding quality production at affordable prices. See; www.goedewaagen.nl
Member of IPAT and Dutch Porcelain Painters Association.
Joined: Aug 2005 Gender: Male Posts: 591 Location: Apeldoorn, The Netherlands
Re: CHINA PAINTERS ABC"S « Reply #19 on Aug 10, 2007, 6:51am »
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Sadaf. See: Mother of Pearl.
Sand of silica (SiO2) Very fine sand used to burnish gold. Silica is a quartz alpha type. Rub some of this sand with a soft humid cloth on the gold to be burnished. Wash thoroughly to remove all the sand.
Saral or Red Saral. This is a transfer paper like graphite paper.
Scratch technique Scratch technique is a method of backgrounding designs. A quick drying waterbase medium is used to mix the paint. First the mixed paint is applied with a sponge. After complete drying of the paint design can be scratch in the paint with a sharp pointed hard wooden stick. Whipe off excess paint with a soft brush. When a matt white or pink base for gold is used as paint en after scratching the design fired and then a luster (e.g. Mother of pearl) applied and again fired, only the scratched parts will show the shiny lustre colours.
Silica inversions. During heating and cooling of silica or silica containing ceramics phase changes occur, called inversions. Two are important as they show a volume change. When passing those inversion temperatures to fast result in such high stresses that the object breaks. Crystobalite inversion at 227 oC gives a volume change of approx. 2.5%. Quartz inversion at 573 oC gives a volume change of approx. 1%. As crystobalite forms during cooling from high temperatures (>800 oC) the crystobalite inversion is important by second fires. So for porcelain painting both inversions are always occurring during firing. So heat and cool not to fast and do not open the kiln too early.
Silimanite. A very heat resistant mineral of aluminum and silicon oxides (63.1% Al2O3 and 36.9% SiO2)
Silk Screen Oil. Used in making raised paste more pliable.
Sizing of brushes. The hairs of new brushes are lightly styled in size. Before first use, rinse out with soft soap.
Spike oil. See: Lavender oils.
Stains. See: Pigments.
Steam forming. See heating and cooling.
Sticky tac. Sticky tac fires off in the kiln and can be used to fix glass fiber or other small particles on porcelain before firing.
Stippler brush. The stippler is a stiff round brush cut on an angle. It is used to merge two colours together by tapping gently back and forth from one colour to the other. It is sometimes called a deer foot stippler because it does remind one of the shape of a deer's hoof.
Stoneware. Stoneware is a category of clay and a type of pottery distinguished primarily by its firing and maturation temperature (from about 1200 oC to 1315 °C). In essence, it is man-made stone. Fired stoneware absorbs up to 5% water when moist not freeze resistant. Glaze may be applied to stoneware pottery before a second firing at a different temperature, or a glaze may be applied before a single, raw firing. Salt-glazed stoneware became the dominant housewares of nineteenth century America.
Study. A pattern. Usually contains a picture of the finished piece, the directions and a line drawing.
Sugar medium for pen-work. Add one part of cornstarch to four parts of icing sugar. Keep this dry. Add one part of the sugar-cornstarch mixture to three parts of paint powder. Add water until it flows easily from the pen. It dries quickly and can then be painted over with Copaiba or fat oil.
Support. A support, in art, means the 'thing' that we are painting on. For oil painters it can be a canvas. For watercolours it can be paper. For china painters it means tiles, dishes, etc.
« Last Edit: May 18, 2008, 8:04am by Henk de Vries »
Member of IPAT and Dutch Porcelain Painters Association.
Joined: Aug 2005 Gender: Male Posts: 591 Location: Apeldoorn, The Netherlands
Re: CHINA PAINTERS ABC"S « Reply #20 on Aug 10, 2007, 6:52am »
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Talc. (Soapstone) Mg3Si4O10(OH)2, Magnesium Silicate Hydroxide An ornamental, heat, acid and electrically-resistant stone used as counter tops, electrical switchboards. The stone looks like milky quartz has a soapy feel and can be scratched by a fingernail making it widely used for carvings. Powder used as an ingredient in paints, rubber, roofing materials, ceramics and insecticides and most commonly known as the primary ingredient in talcum powder. Talc is also used as food additive and in pharmaceutical products. In the European Community the additive number is E553b. Safety of pure talc. Several studies have established preliminary links between talc and pulmonary issues, lung cancer, skin cancer and ovarian cancer. This is a major concern considering talc's widespread commercial and household use. However, no conclusive study has yet been made to determine either the toxicity and/or carcinogenic nature of talc and the long history of safe use suggests that these concerns are unfounded. The U.S. Food and Drug Administration (FDA) considers non-asbestiform talc, that is talc which does not contain potentially carcinogenic asbestiform amphibole fibers, to be Generally Recognized As Safe (GRAS) for use in cosmetics
Terpentine. Synonyms: Terps, White spirit, Odourless mineral spirit. Terpentine is synthetic solvent consisting of nafta plus approx. 4% 1,2,3-trimethylbenzene and approx. 1% xylene and 0,1% benzene. All those hydrocarbon’s are highly toxic, also the vapours. It is very light flammable. Terpentine is not used for porcelain painting but is sometimes mistaken for turpentine. Do not use it for cleaning brushes or porcelain.
Terps. See: Terpentine.
Therebinth(ine). See: Turpentine.
Thermal stresses. See: Heating and cooling.
Thermocouples. Thermocouples are very accurate temperature sensors. In 1822, an Estonian physician named Thomas Seebeck discovered that the junction between two metals generates a voltage which is a function of temperature. Thermocouples rely on this Seebeck effect. Thermocouples are available either as bare wire 'bead' thermocouples which offer low cost and fast response times, or built into probes. A number of standard types are used because they possess predictable output voltages and large temperature gradients. The two most widely used thermocouple types for ceramic kilns are; Type K (Chromel / Alumel) (90%Ni, 10%Cr) / (95%Ni, 2%Mn, 2%Al, 1%Si) General purpose thermocouple up to +1200°C. Low cost, available in a wide variety of probes. Sensitivity is approx 41uV/°C. Type S (Platinum / Rhodium) (Pt) / (Pt+10%Rh) For high temperature measurements up to 1760°C. High cost, high stability, available in a wide variety of probes. Sensitivity (10uV/°C)
Thick oil. See: Dicköl.
Thinner. An organic solvent consisting of a variable mixture of xylene, methylisobutylketon, isopropylalcohol, isobutylalcohol, acetone and butanon. It is highly toxic and light flammable. Do not use it for cleaning brushes or porcelain.
Tin disulphide. Chemical formula SnS2. Tin disulphide or Stannic sulphide obtained as a yellow scaly crystalline powder, and used as a pigment in bronzing and gilding wood, porcelain and metals. It is not attacked by hydrochloric acid and nitric acid. Modern equivalent would be a gold gouache. See; Imitation gold.
Tin oxide (SnO2) Tin oxide is used to obtain opaque glazes for majolica. In combination with titanium oxide (TiO2) matt glazes can be obtained. Combined with antimony trioxide (Sb2O3) gives a strong blue colour. A pink colour in combination with chromium oxide (Cr2O5).
Titanium oxide (TiO2). Titanium oxide is used to obtain matt glazes. It is also used for crystal glazes in combination with zinc oxide (ZnO). It improves the acid resistance of glazes. Green and yellow pigments can be made with combinations of cobalt, nickel and iron.
TN. See: Turpenoid Natural.
Toluene. Synonyms: Toluol, Methylbenzene, Phenyl methane. Toluene (C6H5CH3) is a very toxic aromatic hydrocarbon used as a general solvent. Used in precious metal porcelain paints. Only to be used in very good ventilated rooms. Concentrations higher than 50 ppm (190 mg/m3) can cause extreme health riscs. See: Material Safety Data Sheet T-3913. See: http://www.jtbaker.com/msds/englishhtml/t3913.htm Toxic components in Glazes and porcelain paints. That Lead and Cadmium are very toxic is generally known. But also Arsenic, Barium, Antimony and Uranium are very toxic. Lead, Cadmium and Uranium are banned in most western countries. But nevertheless care should be taken with all powders of glazes and porcelain paints.
Toxicity of solvents in precious metal porcelain paints. Toluene and xylene are widely used in liquid bright gold and liquid burnishing gold but very toxic. See: Toluene and Xylene.
Transfer printing on porcelain and earthenware. With transfer printing a potter can duplicate patterns by transferring it from an engraved plate to ceramics by use of specially treated paper. John Brooks invented the process in 1751. The engraver Robert Hancock (1730-1817) working for George Anderton in Birmingham brought the proces in 1756 to Worcester. It was also perfected by Sadler and Green in 1756. See; http://www.gpsf.com/Definition0.htm In first instance it was used for single color transfer prints with the addition of enamelling in bright colors in parts of the design. This process is called Polychrome Enamelling. The proces was industrialised and brought to a high standard by Josiah Spood during 1770-1784 as a process for the decoration of ceramic items with blue under-glaze designs having a blurred apparence rather than a sharp pattern. The blue colors flow onto the white body of the ceramic at the time the glaze decoration is fired. The resultant wares are known as Flow Blue Wares. They are found in Semi-Porcelain, Earthenware and Porcelain. For a detailed desciption of the proces see; http://www.spode.co.uk/history/history_blue1.html It was also extensively used as “black printing” by Royal Worcester Porcelain Co. See; http://www.powerhousemuseum.com/collection/database/?irn=319469 http://www.encyclopedia.com/doc/1G1-20050943.html http://www.thebritishmuseum.ac.uk/explor....saucer_pri.aspx Nowadays transfers are directly color printed on specially prepaired decal paper with porcelain paint ink. Also blank decal paper is available for hand painting a design for later transfer to porcelain.
Turpenoid Natural. Martin/F.Weber Turpenoid Natural. The manufactorer gives no detailed information on the composition. Only a general remark "Non Toxic" Martin/F. Weber Co. USA & International 2727 Southampton Road Philadelphia, PA 19154-1293 USA Phone: 215-677-5600 Fax: 215-677-3336 Email: info@weberart.com
According to a remark in US patent application 20060172369 TURPENOID NATURAL. Comprising a combination of citrus extracts, pine terpenoids, limonene and linseed oil.
Turp(s), Turpentine oil. See: Turpentine.
Turpentine. Synonyms: Turpentine oil, Turp(s), Therebinth(ine). Obtained by steam distillation of wasted wood from Pine trees (Pinaceae) it contains high amounts of terpene (C5H8) and pinene (C10H16). There is many varieties of turpentine. In America mainly from Pinus Palustris and Pinus Caribaea. In Germany, Scandinavia, UK and Benelux mainly Pinus Pinaster and Pinus Sylvetris. In France Strassburg turpentine (Térébinthine au Citron) with a lemon like smell. In Italy Venetian turpentine and in Hungary the Hungarian Terebinth. In principle they are more or less the same in their use for porcelain painting but painters do have their preference for certain types. Turpentine oil is non toxic, but a lot of people are allergic to it.
« Last Edit: Aug 23, 2009, 4:35pm by Henk de Vries »
Member of IPAT and Dutch Porcelain Painters Association.
Joined: Aug 2005 Gender: Male Posts: 591 Location: Apeldoorn, The Netherlands
Re: CHINA PAINTERS ABC"S « Reply #22 on Aug 10, 2007, 6:52am »
V
Value Finder. A value finder is a red transparent piece of film which is laid over a painting and reduces the colours into values, light, medium and dark. It doesn’t matter what colour is used in the painting, but the value finder gives you an idea of whether it has a light, medium or dark value. By using this value finder, it indicates to you where you need more depth or light areas in your paintings or if it is showing as all being of one value, or no depth to the painting. This way you can give “punch” to your painting where needed.
Vellum. A powder (usually a white or cream colour) that is painted or dusted onto porcelain then fired to give a matt surface similar to a bisque finish. It can then be painted with matt colours.
Vermiculite. Vermiculite is a phyllosilicate mineral, resembling mica in appearance. Chemical Formula: (Mg,Ca,K,Fe11)3(Si,AL,Fe11)4O10(OH)2O4H2O Vermiculite is basically a hydrated phlogopite mica which has the remarkable ability to expand to many times its original volume when heated, known as exfoliation. Making vermiculite a perfect material for heat insulation purposes. It is found in various parts of the world. The largest mine is located in North-Eastern Transvaal in South Africa. Vermiculite itself does not contain asbestos, it was the Libby, Montana mine which was contaminated because of the presence in the mountain of a secondary mineral called diopside. It seems that the problems at Libby were unique to Libby. At all the mines currently supplying vermiculite crude ore to processing companies in North America, Europe, and the rest of the world, testing has been done. They all comply with current EPA, OHSA, and European regulatory agencies. For more information see; http://www.vermiculite.net/ http://www.mesotheliomacenter.org/news/2003-05-22b.php http://www.idph.state.il.us/envhealth/factsheets/vermiculite.htm
Member of IPAT and Dutch Porcelain Painters Association.
Joined: Aug 2005 Gender: Male Posts: 591 Location: Apeldoorn, The Netherlands
Re: CHINA PAINTERS ABC"S « Reply #23 on Aug 10, 2007, 6:53am »
W
Water; Free and Crystal bound. In materials for glazing and porcelain painting water exists in free form and in crystal bound form. Free water will evaporate easily at room temperature and rapidly at the boiling point (100 oC) forming steam. Crystal bound water needs much higher temperatures to decompose depending on the composition. Therefor slow heating and a holding time at approx. 120 oC and 360 oC is essential to remove all the water. Do not forget when firing older ceramic products that they certainly have absorbed water and when heating to fast, and steam forming will fracture the object.
Water based mediums. So called water-base mixtures of sugar, dextrose, Arabic gum, glycerine, (poly)glycols and (higher)alcohols suggest to be less toxic then oil based mediums. But glycols are also bad for your health. A great disadvantage is further the unknown compositions. The only healthy mediums are Copaiva Balsam and sugar/starch/water. But the paints added to the mediums are extremely more toxic, so health is a wrong point of view to chose a medium. A very cheap water based medium is; Sugar medium for pen-work. Add one part of cornstarch to four parts of icing sugar. Keep this dry. Add one part of the sugar-cornstarch mixture to three parts of paint powder. Add water until it flows easily from the pen. It dries quickly and can then be painted over with Copaiba or fat oil.
Westfield House (International painting school) Westfield House, North Ave, Wakefield, West Yorkshire, WF1 3RX, England. See; www.westfieldhouse.co.uk
Whink rust stain remover. (http://www.whink.com/rust_stain_remover.htm) A solution containing 2.5-3%hydrofluoric acid used by porcelain painters to strip paint off fired china. (The Australia/New Zealand equivalent Rustiban, manufactured by the Fleischmann Chemical Company consists of 9.8% hydrofluoric acid.) These DANGEROUS products must be used with extreme caution. (See entry under Hydrofluoric acid). Rustiban has been withdrawn from sale in Australia. These products eat into the glaze in the process of removing the paint and will leave a shadow that can show through a design subsequently painted on the ware unless a wash of glaze is applied and fired prior to repainting. Reds can fire out in subsequent fires.
White wax transfer paper. Transferring a design on a dark blue or black plate is a problem. The normal graphite transfer paper gives lines you do not see. When you use the waxy white paper you cannot paint on those waxy lines. The answer is transferring your design with the white waxy paper and than fire the plate. After firing and cooling down to room temperature, wash the plate with water and soap to remove the remains of the wax. Surprisingly you will see your design in white lines! Paint with anything you want.
White spirit. See: Terpentine.
Wingel. Winsor & Newton Wingel is an oil-modified alkyd resin that can be used to increase gloss and speed drying. To give fat oil and pure turpentines that extra bit of hardness, add a small amount of “Wingel” it makes your mix fast drying and re-coatable. Thin with turpentine.
WOT, Wipe out tool. Wipe out tools are used to wipe out paint back to white china. It can be used to clean up edges or to draw lines in paint, make dots, etc.
« Last Edit: Jan 23, 2008, 8:37am by Henk de Vries »
Member of IPAT and Dutch Porcelain Painters Association.
Joined: Aug 2005 Gender: Male Posts: 591 Location: Apeldoorn, The Netherlands
Re: CHINA PAINTERS ABC"S « Reply #25 on Aug 10, 2007, 6:53am »
Y
Yttrium. Yttrium is one of the so called “rare earth elements”. In combination with chromium and a glaze containing aluminium oxide, gives it after firing under oxidizing conditions a brilliant transparent red colour.
« Last Edit: Aug 10, 2007, 3:44pm by Henk de Vries »
Joined: Jun 2006 Gender: Female Posts: 993 Location: Sherwood, Arkansas
Re: CHINA PAINTERS ABC"S « Reply #27 on Aug 11, 2007, 6:59pm »
Hi Henk,
I have been looking over the dictionary again, love the way you and Celeste have reformatted it by the way. But I didn't see anything on carnation oil.
One of the ladies on the PPIO sent me some to test. She says it keeps the real grainy paint from being gritty and smooths it. So far, I've noticed the paint isn't AS grainy but still gritty. Maybe I'm not using enough or maybe this oil doesn't really work....at least not for all people.
Can you tell me anything else about it other than it smells wonderful?
Member of IPAT and Dutch Porcelain Painters Association.
Joined: Aug 2005 Gender: Male Posts: 591 Location: Apeldoorn, The Netherlands
Re: CHINA PAINTERS ABC"S « Reply #28 on Aug 12, 2007, 6:30am »
Hi Sam, The only effect of the medium is the amount of paint picked up with the brush. The more you pick up the more shine. Do not pick up to much than chipping off might occur. So in ormal painting Copaiba and Dicköl gives the best shine I did some test with different mediums. Gritty paint stays gritty whatever medium you are using. Use a strong hard palet knive and matt glass to smooth the gritty paint.
furthermore some info on Carnation oil.
Carnation, (Dianthus caryophyllus) Holds an important place in perfumery. Southern France, Italy, Egypt, and Kenya are now the main sources of carnation flowers for perfumery use. The flowers are extracted with volatile solvents and on treatment with alcohol gives carnation absolute. Steam-distilled flowers are used for carnation oil. There is a difference in chemical compositions of absolutes and steam-distilled oils. Carnation absolute is very expensive and only used for perfumes and in de luxe fragrances, because of its high price. Synthetic carnation compounds or their components have replaced the absolute in less expensive perfumes.To check carnation absolute for purity place a drop on a piece of paper, it will evaporate quickly and leave no oily mark indicating that it has not been cut with vegetable oils.
Hope this will help you Henk
« Last Edit: Aug 12, 2007, 6:30am by Henk de Vries »
Re: CHINA PAINTERS ABC"S « Reply #29 on Aug 12, 2007, 2:37pm »
Hi Henk,
Some painters I know are using lanolin to help smooth gritty paint in the mixing. Perhaps it would be good to check this out and include it in the dictionary. I would be happy to do this but at the moment have no time.
Maybe some of our readers would like to participate in a little experiment? Lanolin is readily available here in the States where supplies are sold for nursing mothers.
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