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I grew up learning about ceramics in a world of potters and I suppose I adopted their feelings about cracks and breakage. Finally, I would be remiss if I didn’t mention Arthur Gonzalez, who first introduced me to the very concept of repairing ceramic sculpture at Arrowmont School of Arts and Crafts in 2012, in a truly mind-expanding workshop.įor a long time, I had a bias against repaired ceramics. Wynne Wilbur was my professor in undergraduate school, who started me on this clay journey. Tim Mather and Malcolm Mobutu Smith are my other IU faculty, for whom I am also sincerely grateful.
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She was a beloved mentor who changed my life and I will cherish her forever. Chris passed away this summer and the entire ceramics community from Indiana University (IU) and beyond has felt her loss deeply.
HOW TO GET PUTTY OFF OF PORCELAIN FIGURINE PATCH
Primarily because she was the person who first handed me a jar of Bray Patch and reassured me, with her trademark frankness, that I wasn’t alone in my struggles with figure sculpting. Mentors I have to put Chris Boger first on this list. Sometimes I use encaustic for a surface even if I haven’t mended anything. And stage 3, if those methods are not sufficient, is to disguise the mend with encaustic (hot wax) paint, which has a gorgeous translucent semi-matte surface that I find perfect for figure work. Stage 2 is to carefully color match Apoxie Sculpt with the fired surface. Stage 1 is to use Bray Patch to repair a break at the green or bisque stage, reapply underglaze over the mend and fire as I would normally. Starting a repair early gives me second and third chances in case the mend doesn’t go perfectly the first time. I always try to get a perfect mend in at the earliest possible stage. Because of that, matching a mend to the existing complex surface presents a challenge. I do a lot of sgraffito illustration and other complicated surface work with underglazes on my pieces at the leather-hard stage. It can be color matched easily, and can be molded and shaped similarly to clay. Apoxie Sculpt ( is one of my favorite materials for post-firing fixes. Used on bone-dry, bisqued, and even glaze-fired pieces if you glaze over and re-fire it. The Bray Patch slip is amazing because it can be My favorite repair techniques are to use Bray Patch ( slip for a pre-firing fix (bisque, glaze, or refiring), and various epoxies for a post-firing fix. At that moment, this demo was born out of a desire to get this topic out in the open, where we can better share the knowledge and techniques many artists have developed on their own. He agreed that yes, many figurative sculptors have invented ways of mending, but it’s become a strange, universal secret that isn’t discussed. We’ve all come up with our own different strategies for it over the years.” When TJ Erdahl showed up later that semester as a visiting artist, I asked him the same question. I said, “Chris, am I terrible at clay? Am I the only person who has this problem?” And she said, “Heck no, all of us figure people repair stuff.
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I went to my professor Chris Boger, a beloved mentor and figurative artist. Pottery Making Illustrated Submission GuidelinesĪs a graduate student, I was getting frustrated with frequent cracks appearing in my sculptural work.Jane Hartsook Gallery at Greenwich House Pottery.Workhouse Clay International ICAN Merit Award.ICAN Making a Difference in Ceramics Award.Annual National K-12 Ceramic Exhibition Award.ICAN Online Juried Show Exhibition Archives.