 | ||||
Karla Humphrey Pendleton
Karla's Favorite Links
My love of china painting is rooted in the teaching of my mother, Betty Humphrey. It is our goal to share this unique and wonderful art form with as many people as possible and to challenge porcelain artists to new levels of achievement. In pursuit of this goal my husband, Steve, and I present various educational activities as we travel. Activities are scheduled according to previous travel commitments on a first come, first served basis. Described below are teaching fees, activity descriptions, supply lists and publications which you will find informative. I teach many different floral subjects: pansies, violets, double violets, iris, sweet peas, clematis and wild roses are a few of my personal favorites, but you are by no means limited to these. You may find it helpful to examine the list of my publications below. I'm probably best know for my one fire technique. However, we are not necessarily limited to this technique. I'm also very well acquainted with more traditional methods. If you are interested in sponsoring an educational activity for your organization please contact me at:
PO Box 665, Silverton, CO, 81433 USA
Phone: 877-880-2347
Email: karlapendleton@juno.com
Seminars: include 2 - 5 days of instruction working toward the completion of 1 or more pieces. Individual attention is given to each of 10 students. Usual hours are 9AM - 4PM with 45 min. for lunch.
Workshops: include 2 - 5 days of large group instruction working toward the completion of 1 or more pieces. Limited individual attention. Usual hours 9AM - 5PM with 45 min. for lunch.
Paint-Alongs: include up to 6 hours of in-class demonstrations as students paint along. No individual attention, class instructions only.
Demonstrations: include 1 - 2 hours of technique demonstration only, with questions and answers. No students will be painting.
I reserve the right to display and sell products during all activities.
Activity Descriptions
| ||||
Teaching Fees
Seminars: $200.00/day (1 - 10 students)
$225.00/day (11 students)
$250.00/day (12 students)
$275.00/day (13 students)
Workshops: $175.00/day (30 students max.)
Paint-Alongs: $125.00/day (no student limit) Demonstrations: $50.00 (1 - 2 hour demo) Private Instruction: $120.00/6 hours of private instruction in my loft studio
Transport and Lodging Fees
| ||||
If hospitality is not available we will need to charge back to the organization any lodging fees incurred during our stay as well as transportation expense. Please contact us to determine these expenses for your group.
| ||||
Articles By Karla Pendleton
Wild Rose: China Decorator - Feb '96
Wild Rose: China Painter - Mar/Apr '96
Mums: Porcelain Artist - Mar/Apr '96
Pansy: China Decorator - Sep '96
Daisy: China Painter - Sep/Oct '96
Violet: China Painter - Mar/Apr '97
Roses: China Decorator - May '97
Iris: China Decorator - Jan '98
Hydrangea: China Decorator - Jan '99
Pansy/Violet: China Painter - Mar/Apr '99
Teaset: China Decorator - Nov/Dec '99
Sweet Peas: Journal of PPAA - Fall '99
Landscape: Porcelain Artist - Jul/Aug ‘00
Sweet Peas: British Porcelain Artist-Jan/Feb ‘01
Wisteria: The China Decorator - Mar/Apr ‘04
Functional Art: Porcelain Artist - Jul/Aug '08
| ||||
Seminars: I supply paint, medium and palette. Students will supply the following:
China (contact me for recommendations)
Small dish with approx. 1/4" lip for medium
Wipe out tools (pointed and chiseled edge)
Brush cleaner and container (no Grumtine)
Brushes (3/4" & 1/2" sq shaders & long liners)
Paper towels, blotting cloth, etc
Any other supplies you like to use
Workshops & Paint-Alongs:
China (contact me for recommendations)
Mixed paints and palette
Open painting medium (no mineral oil)
Small dish with approx. 1/4" lip for medium
Brushes (3/4" & 1/2" sq shaders & long liners)
Brush cleaner and container (no Grumtine)
Paper towels, blotting cloth, etc.
Any other supplies which you like to use
Supply Lists for floral subjects
Karla Pendleton's Art Education Information
Art-Aide Mixing and Painting Medium - Instructions
General Description
Betty Humphrey's Art-Aide is a superior general purpose medium used for mixing china paints (overglazes) as well as brush loading for painting on porcelain and glass surfaces. Art-Aide is an open (non-drying) medium which was originally developed for meeting the needs of one-fire artists. It is also an excellent multiple-fire medium due to its ability to hold color without chipping and run resistance during firing. Porcelain artists will find that this medium produces particularly brilliant colors and will resist fading. Art-Aide can also be used as a non-drying pen oil.
Application Instructions
My one-fire method requires a wet brush combined with a heavy application of paint. For better color retention, mix your paints with Art-Aide. Paint application should be such that the painted surface "glistens", but is not puddled or soupy looking. Also avoid heavy build-ups of dry paint which can cause chipping. I normally load my brush with medium, wiping the excess against the lip of my medium dish and going directly into the paint - do not blot before loading with paint. For multiple-fires and "washes" you may use a drier brush for paint application - light blotting is OK.
Mixing Raised Paste and Enamel
Add Art-Aide to raised paste or enamel and mix until "crumbly" (like pie dough). Thin with turpentine (no substitutes) until reaching the right consistency for brush work or stringing. Turpentine supplies the fat oil which is needed to keep the paste and enamel from flattening when fired. If you are planning to apply enamel over wet paint, DO NOT thin with turpentine, but continue adding Art-Aide until the correct consistency is reached. The enamel will flatten more, but will still provide relief. Turpentine in the enamel will leave a "halo" wherever it touches the wet paint, which may not be noticed until after firing. Colored enamels may be mixed using paint from your palette which has been mixed with Art-Aide, combined with white enamel.
Mixing Flux for Incising or Incising Powders
Mix Art-Aide with flux or incising powder until the consistency of heavy cream and apply with a brush to the area to be incised. Sprinkle the incising beads over this area, clean up loose beads and fire at 014. Cool kiln rapidly then chip off incised glaze.
Base In A Bottle Instructions
What is it?
Base In A Bottle is NOT raised paste, base for raised gold or enamel. Base In A Bottle is an overglaze (china paint) compatible, dimensional (maintains a raised surface) glaze which may be applied to porcelain bisque or glazed porcelain (white china). After firing, this "raised glaze" can be overlaid with gold (liquid bright or burnishing), luster, or china paint.
What are it's advantages?
Base In A Bottle is much easier to apply than raised paste, base for raised gold or enamel and may be fired multiple times at any temperature below 1900F (cone 06). To apply dots simply squeeze it diretly from the bottle onto the porcelain. For finer work (small dots, scrolls, etc.) apply with a liner brush. There is no fussing to get the right consistency since it is premixed for perfect application. Exposure to harsh chemicals such as turpentine is eliminated. Base In A Bottle is non-toxic and water-based. Base In A Bottle is reliable, with far fewer "firing accidents" (chipping, pop offs, etc).
How do I apply it?
Shake bottle well with the tip down and cap on. Gently squeeze bottle over clean tile to remove excess air (use a straight pin to remove dried glaze from tip if necessary). If applying from the bottle, practice making a few dots on a tile, to get the "feel" of it. If using a liner brush for application, squeeze a little onto a tile (not too much it dries quickly). Tip of bottle or brush should not touch the surface, rather let the glaze "pull" itself unto the china. Don't let wet decorations touch each other or they will flow together. If decorations need to be close, allow one to dry before applying its neighbor. Base In A Bottle can thicken with age and disuse. To thin pop nozzle out, add water a few drops at a time stirring well until the correct consistency is reached. Clean up with water.
How do I fire it?
Base In A Bottle is a dimensional glaze and must be fired to cone 06 (1850F-1900F). NOTE this firing must be completed before any china painting is done. After firing, base may be overlaid with gold, luster, or china paint. Don't worry if dimples appear as decorations dry, they will disappear after firing to cone 06.
Address: PO Box 665, Silverton, CO 81433, USA
Phone: (877)880-2347
Email: karlapendleton@juno.com
Karla Pendletons's Wet Grounding Oil
General Description
Barbara Ramsey-Snow's Background Oil takes the work out of laying down a superb, shiny, solid ground using standard china paints. Coverage varies with color chosen. Dark browns, blacks, dark greens, iron-based oranges, reds, violet work best, often obtaining complete coverage in only 2 fires without chipping. Colors which may require 3 or more coats are the blues, rubies, purples and pinks.
Grounding Instructions
Use Background oil for mixing and painting. Mix dry china paint with Background Oil to the consistency of regular china paint. Apply first coat with a brush using Background Oil as the medium. This coat does not need to be padded or consistently solid. Just brush paint on quickly and as smoothly as you can, it dries rapidly. Fire at minimum of 016. Apply a second coat (if paint is dry don't try to reconstitute, mix fresh). You should see and feel the first coat of fired paint grab and hold this next coat. Fire again at 016. Repeat the process, if necessary, until you have the coverage you want.
Texturing Instructions
Mask areas which are not to be textured with red resist. Mix paint as above and use a brush to apply a heavy coat of paint on area to be textured. Use an eyedropper to drip dispersing agent onto surface of wet paint. Let gravity take over to run paint down the sides or rotate and tip the piece to create a marbleized effect. Let dry and remove resist. Fire at a minimum of 016.
Helpful Hints
Laying on paint too heavily or too dry can result in chipping (paint should be mixed to the consistency of cold cream). Painting too wet can cause runs (surface of paint should glisten and appear wet but not be puddled or oily looking). Ground last, after you have finished painting your design, too many fires can cause the surface to appear "smoky". You can fire your gold work after finishing the grounding, but keep fires of the grounded area to a minimum.
Site last updated on: 1/13/2012
Success with Lusters
Lusters (including gold, white gold, palladium, platinum) are very sensitive to contamination, keep them away from turpentine, brush cleaners, and other oils. When I’m doing luster work I put away my china paints and brushes. Use luster/gold essence to thin lusters, use small amounts of clove oil to keep lusters open longer. Avoid cross contamination of lusters by using a separate brush for each luster color family (blues, gold, pinks, orange, halo, etc.). Lusters are very unpredictable in combination. Be sure to test fire combinations before doing serious work. White for Pastels luster will combine with other lusters to produce a pastel version of the color.
I prefer 100% acetone for cleaning brushes, smears, etc. Denatured alcohol is often recommended, but usually contains water which will mar luster. Isopropyl alcohol contains oil which will mar luster also. To apply a smooth coat of luster, use a fine cosmetic sponge loaded with the appropriate color. After luster is applied pounce lightly with a clean sponge until surface is smooth. Fire then apply a second coat using the same process. Continue applying coats firing in between until the proper depth of color has been achieved. A smoother surface will be obtained with multiple thin coats rather than 1 heavy coat. If luster is applied too heavily it can turn cloudy and/or powdery. Avoid application on very humid days which can cause spotting. Also avoid sneezing/coughing on luster.
Lusters can be applied with a technique called “dipping”. Dipping involves, floating small drops of luster on top of a large-mouthed jar filled with water. A small piece of china that fits in the mouth of the jar is randomly dipped into the luster as it floats on the water, creating interesting patterns on the china. Continue the process until the luster patterns are pleasing.
I fire all of my lusters including gold at 016. I do a graduated fire (low, medium, high) and vent the top of the kiln by leaving the lid slightly (1/8”) open and the plug out. Lusters need plenty of oxygen. I have never experienced a problem with firing lusters and china paint together.
Interesting textures can be formed when a luster (for example, Warm Silver Gray) is applied smoothly with a sponge and fired. Layer a dark luster (for example, Deep Blue) on top of the first luster. Apply with a sponge. Use an eye dropper to “drip” acetone, or essence into the wet luster, bringing out the bottom fired luster color. When a pleasing texture is obtained, fire. Several layers and colors can be applied in this manner. Interesting patterns can also be formed by “spritzing” the acetone, or luster using a fine spray bottle.
Karla Pendleton’s Raised Texture Powder
Uses:
Provides raised, rough, “nuggety” texture on glazed or unglazed porcelain or ceramic material
Provides a “base” for fusing glass onto glazed or unglazed porcelain or ceramic material
Mixing Instructions:
Shake powder in packet and “scrunch” with fingers to mix well before using. Pile an appropriate amount of Raised Texture Powder for your project onto a tile. If desired, add dry powdered paint to the Texture powder and mix thoroughly. Remember that most colors will fire darker, some may even change tone. A test fire with a small sample is helpful. When starting a project be sure to mix enough as it will be difficult to “match” colors if you run out. Texture Powder may be mixed with water or milk, but I find that these dry too quickly for most purposes. I prefer to mix it with Water-Based Medium which keeps the texture material workable for a longer period of time. Fill a small spray bottle with Karla Pendleton’s Water Based Medium, pick up an eyedropper full of medium and apply to pile of Raised Texture Powder mixture. Mix to the consistency of “gritty toothpaste”. Do not try to “grind” this mixture, it should be gritty. Apply Raised Texture with palette knife, coarse sponge, bubble wrap, air gun or whatever else your imagination can conjure up to make an interesting texture. If the mixture becomes too dry mix in more medium. Raised Texture is difficult to reconstitute if you let it dry too much. Fire to 016.
Applying Glass For Fusing:
Use long tweezers or other grabbing instrument to pick up and apply glass chips and/or glass beads. Build up a slight mound of Raised Texture Powder to secure glass to surface of porcelain or ceramic. There are different types of glass for different temperatures (cold or hot work). If you’re not certain of the glass you’re using, be sure to test fire a small sample first. Some stained glass will change colors when exposed to high temperatures. Other glass resists high temperatures and will not melt properly. Taking the time to test fire now can save a world of regret later. Fire most glass to 016.
Applying Lusters and/or Gold:
Apply lusters or liquid bright gold over fired Raised Texture using a brush or sponge. A coarse sponge loaded with liquid bright gold or bright white gold lightly pounced over fired texture gives a lovely effect. Fire to recommended temperature of the luster or gold. Avoid using gold which must be burnished.
If you like my website click above to find out how to set up your own website or send me an email for more info
Continuing a family tradition of the finest in china painting
Artwork -- Handpainted Gifts -- Supplies -- Instruction
Number of Visitors to date:
Faux Malachite and Marbleizing Instructions
Malachite most often appears as swirls of various shades of green. However, a "malachite" look can be used with many differenent colors. A "marbled" look is more abstract and has a "sharp angled" appearance as opposed to the malachite's swirled patterns. First fire is the same whether executing the faux marble or the faux malachite.
Mix Imperial Jade and Mallard Shadow separately with mixing medium (I use Betty Humphrey' Art-Aide). Apply Imperial Jade haphazardly using a square shader and executing some short and some long strokes. Next apply Mallard Shadow in the same manner next to or nearby the Imperial Jade, not all white areas must be covered. Using a well conditioned (oiled) brush which has been lightly loaded with Imperial Jade, smooth and filter over the area. Don't overdo this step or the integrity of your colors will be lost. After smoothing you should have patches of two distinct colors which establishs your "base colors". Fire to cone 014 or hotter. I prefer cone 012-010.
Mix Nouveau Shadow and Black Green separately with mixing medium (again I use Betty Humphrey's Art-Aide). Apply Nouveau Shadow over the fired "base colors" in the same haphazard manner as before. Next apply the Black Green haphazardly. Lightly load a well conditioned brush with Nouveau Shadow and smooth over the area. Again be sure not to over do this step and lose the integrity of your color. At this point you should see none of the fired color showing through your unfired paint. Again you should have a "patch work" of Nouveau Shadow and Black Green.
FOR MALACHITE: Using a clean, synthetic comb or fan brush conditioned with brush cleaner and blotted (see note below) - wipe out the swirled patterns of the malachite look. Clean the brush often and be sure to blot before touching the surface of the paint. Drag lines through the paint using a circular motion to expose the "base colors" until you like the effect. Be sure to avoid wiping off all of your darker top colors. Fire to cone 014 or hotter. I prefer cone 012-010.
FOR MARBLE: Crumple saran wrap tightly and then "re-flatten". You should be able to see patterns formed in the saran wrap. Lay the plastic wrap over the unfired paint pressing it down lightly with your fingers. Try to move the wrap as little as possible. Now carefully remove the plastic wrap. If the appearance is unsatisfactory crumple the saran wrap into a ball and use it to lightly tap the surfaces which are not exposing enough of the "base colors". You may need to crumple and recrumple to expose fresh plastic wrap and create more random patterns until you like the effect. Fire to cone 014 or hotter. I prefer cone 012-010.
* Note: Some brush cleaners promote spreading or "haloing" of the paint. I prefer to use Durotine because this problem is minimized. However, it is important to use a well blotted brush regardless of which brush cleaner you use before touching the brush to the unfired surface.
| ||||
Mom and Dad moved again. This time to an assisted living apartment.
It's very nice but again they have had to downsize...during the move we discovered a box of Ramblin' Thru Roses. This is a lovely workbook with 4 four-color separation prints and all the line drawings and instructions to go with them (40 pages in all). Includes 3 color worksheets with transparencies so you can practice the strokes right in the book. See photos below. Price will be less than half of the current rate now that we have so many available. Reg price...$16.95....Now only $8ea plus shipping. We can get up to 4 copies in a flat rate priority envelope for $4.95 shipping (US ONLY - international customers contact karlapendleton@juno.com for shipping rates). At these prices you can order several as gifts for your china painting friends or for your club. I learned to paint roses from this book many years ago.
Wow another find...a box of VHS tapes...if you still have a player (I do in the studio) this is a great find. Title: China Painting Techniques for Busy People, "One Fire Tulips With Finger Painting". See photos below taken as video played on my studio TV.
Original price...$45.00....Been Selling for $15...Now only $7ea plus $5.25 shipping (US ONLY - international customers contact karlapendleton@juno.com for shipping rates - multiples contact us we can consolidate to minimize shipping costs). At these prices you can order several as gifts for your china painting friends or for your club.
Karla Pendleton's Wet Grounding Oil Instructions Lay down RICH, SOLID, SHINY GROUNDS in 1-3 coats
General Description: Wet Grounding Oil takes the work out of laying down a superb, solid ground using standard china paints. Coverage varies with color chosen. Dark browns, blacks, dark greens and iron-based, reds/ oranges, violet work best, often obtaining complete coverage in only 2 fires without chipping. Colors which may require 3 or more coats are the blues, rubies, purples and pinks. I've used Deep Shiny Black successfully in one coat.
Grounding Instructions: Mix dry china paint with Wet Grounding Oil to the consistency of warm honey. Apply first coat with a brush using Grounding Oil to condition the brush. This coat does not need to be padded or consistently solid. Just brush paint on quickly and as smoothly as you can, it dries rapidly. Fire at minimum of 016. Apply a second coat (if paint is dry don’t try to reconstitute, mix fresh). You should see and feel the first coat of fired paint grab and hold the second. Fire again at 016. Repeat the process, until desired coverage is reached.
Texturing Instructions: Mask areas that are not to be textured with red resist. Mix paint as above and use a brush to apply a heavy coat of paint on area to be textured. Use an eyedropper to drip dispersing agent onto surface of wet paint. Let gravity take over to run paint down the sides or rotate and tip the piece to create a marbleized effect. Let dry and remove resist. Fire at a minimum of 016.
Suggestions: Painting too heavy or too dry can result in chipping. Painting too wet can cause runs (surface of paint should glisten and appear wet but not be puddled or oily looking). Ground last, after you have finished painting your design, too many fires can cause the surface to appear “smoky”. Gold work can be fired after finishing the grounding, but keep fires to a minimum. I don't dry ground, but have been told by those who do, that this oil can be used equally well for dry grounding.
1. Materials I used to mix my ink: Adele Holt's Pen Oil and Conditioner, Denatured Alcohol, Palette Knife, Adele's Zebra Pen Point, Pen Holder with a sponge curler glued onto it for comfortable grip, Mixing Tile and Air Tight Container for Paint.
2. Adele's instructions for mixing ink are great. Just follow them! I used the instructions for mixing a large quantity and found that I intially added too much denatured alcohol (had to let some evaporate) and not enough of her pen oil.
1.
2.
3.
3. Getting ready to mix the ink. I'm using Red Brown china paint, but I've also mixed a batch of Black.
4a.
6. Test the mixture on the tile for consistency. Flowing at a comfortable rate and with a nice opacity and thin line that holds together. Looking pretty good here.
4a-b. I used the handle of the pen holder to pick up a few drops of Adele's conditioner and carry it to the pen oil/paint mixture. If you're not as lazy as myself, you could use an eye dropper. I just hate cleaning up the eye dropper!
4b.
5.
5. Mix with the palette knife and load the pen point when you think the ink is the correct consistency to flow. This takes a little practice. I've since learned that I prefer loading the pen using a palette knife or brush rather than the direct method illustrated here.
6.
Here are the fired results! I know you're wondering why you see Black ink here when I told you I was mixing with Red Brown. It took a lot of practice with the Red Brown to get to this point and I'm not about to post THOSE PICTURES! In fact most of those pieces were wiped off before anyone could see them, it was hard enough looking at them myself.
On this box lid I've used Adele's Pen Oil and Conditioner to mix the ink, then penned on the design free hand. After the ink dried I used a water based medium to mix Black ink and applied it with a fine pointer brush for shading the flowers, leaves, stems and butterfly. Pen work is now done and I'm ready to add color! Something I'm a bit more comfortable with....now to put my thinking cap on! Thanks so much to Adele for opening my world. Her pen oil and conditioner are great, they make the ink flow so smoothly! Also many thanks to Alice Wofford for advising me to use the curler as a comfort grip for my pen handle. Her help has greatly lengthened the amount of time I can hold this pen without losing feeling in my hand. Alice also generously supplied me with studies which I referenced often. Now if I could only learn to sign my name with this thing! HA! Happy Penning Everyone and Thanks for taking the time to look!
USING PEN AND INK ON PORCELAIN
Here's the box lid with a little color added. I used a water based medium to add the china colors. After that was dry I enhanced some areas...like the butterfly's wings and the leaves with luster. Now I'm ready to resist off the design and add luster to the background. Think I'll do some doodling along the border too. Thanks for looking!
Sgraffito
Initial cone 016 fire of MOP all over both lid and bottom. Brushed my Wet Grounding Oil over box lid and pounced with a silk wrapped around cotton until oil is tacky and smooth. Used a mop brush to lift Silver Pearl paint from wide mouthed container and tap heavily over entire lid. The Wet Grounding Oil should capture and hold the paint. Very lightly brushed off excess paint with the mop brush onto a piece of folded paper, then funnelled the leftover paint back into the container. After the oil was completely dry (overnight for me but probably an hour would suffice) I used a wooden BBQ skewer to scratch out the design and expose the MOP undercoat. Fired to cone 016. I painted on the floral design, using some enamel highlights and fired again to 016. Finally brushed Marci's Crystal Magic over the bottom of the box to give an effect that really highlights the sgraffito. I really like this combination of MOP luster, with Silver Pearl paint and the Crystal Magic...it works like magic! Liked it so much in fact I'm starting another box. See photo at right. Wonder how Blue Interference paint would work as a ground? Hmmm...! Sliver Pearl and Wet Grounding Oil are available just click!
