Porcelain Artist Vol 65 No 2 : simplebooklet.com

2 We are excited to announce the release of the second issue of our magazine this year, dedicated to the enchanting beauty of roses. This edition highlights the deep appreciation our American members have for capturing these exquisite flowers through art. We have carefully curated a selection of articles featuring stunning rose paintings, and we hope you find them as inspiring as we do. In addition to traditional rose paintings, this issue explores the latest trend in art: Artificial Intelligence. We aim to keep our members informed about how this innovative technology is transforming artistic expression. We also feature artworks from the grant project titled “Cotton…From the Boll to the Bolt,” where members interpret cotton's journey from field to fabric through porcelain paintings. Our magazine thrives on the contributions of our talented members. We encourage you to share your extraordinary paintings for publication. Your unique perspectives and creative expressions will enrich our magazine and foster connections among artists. Thank you for your ongoing support and passion for porcelain arts. Don’t forget to renew your membership!DDrr.. CCoorriinnnnaa SSiiuu IPAT is a nonprofit 501(c)(3) organization and donations are tax deductible and required to sustain IPAT.Porcelain Artist Vol. 65 #2 April/May/June 2025 COPYRIGHT 2025 BY INTERNATIONAL PORCELAIN ARTISTS AND TEACHERS, INC. All rights reserved. Nothing contained within this publication can be reproduced without the written permission of IPAT, Inc. and/or the contributing artist.Porcelain Artist (USPS 266-780 ISSN-08880336) is a quarterly publication of the International Porcelain Artists and Teachers, Inc. (IPAT) at PO Box 1807, Grapevine, TX 76099. Periodicals postage is paid at Grapevine, Texas or additional mailing offices. POSTMASTER: Please send change of address to IPAT at PO Box 1807, Grapevine, TX 76099. Subscriptions are included with membership dues to IPAT. CONTRIBUTING EDITORSSuzanne PainterAnna Marie SkoniecznyCorinna Siu REGIONAL REPORTERSJane WrightLinda BadgerCarol PicklerEtsuko Hanajima Seo Yeon ChoFresia Leigue Maya Fares GRAPHICS ARTISTS Corinna SiuJanice WilliamsJason Williams Editorial Board COPY DIRECTORSuzanne PainterLetha SandiferPeggy HodgsonVal Naber

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Placing Ads in the Porcelain Artist To place an ad in the Porcelain Artist, submit your ad copy to office@ipatinc.org along with payment before the deadlines. Ads cannot be published without receipt of payment. Ads need to be print ready as a .jpg, .png, or PDF file. Resolution must be 300 dpi Prices are per issue Buy 3 Ads get the 4th FREE Full page …………….. $200 Half page …………….. $100 One-quarter page .. $50 Business card ..…….. $25 IPAT can create QR codes for your advertisement at no additional charge. Visa/MasterCard/PayPal in US$ is accepted. Send change of address notification at least 45 days before effective date. Include both the old and new addresses and new telephone number, if applicable. All correspondence and informational changes may be emailed or sent to IPAT. IPAT’s mailing address is P.O. Box 1807, Grapevine, TX 76099. Email address is office@ipatinc.org and website is www.ipatinc.org. Replacement magazines will be electronic copies only. DISCLAIMER: The Porcelain Artist is presented in good faith. No warranty is given to the user relating to any contents within the magazine, submissions of any kind may be edited for better magazine presentation. Neither IPAT, Inc., nor the Porcelain Artist is liable for any results from article instructions or charges made for claims of patent or from copyright infringement by submitting artists. It is solely the contributor’s responsibility to guarantee their submission was not produced using a copyrighted article/photo/painting/ephemera or copyright infringement of any kind before submitting items for publication. QR codes: IPAT is not responsible for upgrading or maintaining content. Content may be deleted (12) months after publication in the Porcelain Artist. IPAT is not responsible for the content nor any untoward results. Table of Contents Front cover – Daphne Stevens Editor’s Message & General Info 2 Table of Contents 3 2025 IPAT Online Competition 4-5 Chairman & President’s Message 6 Mary Ashcroft-Seehagen 7 Daphne Stevens 8-9 Rosemarie Radmaker 10-12 Kathy Carlson 13-15 Donna Rasco, Becky Rasco 16-17 Pablo Acosta 18-19 Birgit Porter 20-21 Audny Thuestad 22-23 Ute Henne 24-25 Angie Matte 26-27 Summer Celeste 28-29 Beatriz Estupiñán 30-31 Cotton…From the Boll to the Bolt 32-35 Midwest Porcelain Art School 35 Cotton Flower on Matte Background 36 Reviving Tradition: A New Era for Porcelain Art 37 Integration of AI Art and Porcelain Painting 38-41 Virginia Hickey 42 Penny Bland Grace Moss & Gertrude Easterly 43 44 Nancy Bergman 45 Asya Baldwin 46 Simona-Marina Braathen 47 Anita Russell 48 Angela Chiu 49 Ann Mancebo 50-51 Peg Pelter 52-53 Hye Won Lee, Grace 54-55 Beatrice Gulbrandsen 56 Renewal Form 57 Advertisements 58-59 Back Cover – Hye Won Lee, Grace Submission deadlines for Ads and Articles Issue #1 – Nov. 7; Issue #2 – Feb. 7 Issue #3 – May 7; Issue #4 – Aug 7 3 We are excited to announce the release of the second issue of our magazine this year, dedicated to the enchanting beauty of roses. This edition highlights the deep appreciation our American members have for capturing these exquisite flowers through art. We have carefully curated a selection of articles featuring stunning rose paintings, and we hope you find them as inspiring as we do. In addition to traditional rose paintings, this issue explores the latest trend in art: Artificial Intelligence. We aim to keep our members informed about how this innovative technology is transforming artistic expression. We also feature artworks from the grant project titled “Cotton…From the Boll to the Bolt,” where members interpret cotton's journey from field to fabric through porcelain paintings. Our magazine thrives on the contributions of our talented members. We encourage you to share your extraordinary paintings for publication. Your unique perspectives and creative expressions will enrich our magazine and foster connections among artists. Thank you for your ongoing support and passion for porcelain arts. Don’t forget to renew your membership!DDrr.. CCoorriinnnnaa SSiiuu IPAT is a nonprofit 501(c)(3) organization and donations are tax deductible and required to sustain IPAT.Porcelain Artist Vol. 65 #2 April/May/June 2025 COPYRIGHT 2025 BY INTERNATIONAL PORCELAIN ARTISTS AND TEACHERS, INC. All rights reserved. Nothing contained within this publication can be reproduced without the written permission of IPAT, Inc. and/or the contributing artist.Porcelain Artist (USPS 266-780 ISSN-08880336) is a quarterly publication of the International Porcelain Artists and Teachers, Inc. (IPAT) at PO Box 1807, Grapevine, TX 76099. Periodicals postage is paid at Grapevine, Texas or additional mailing offices. POSTMASTER: Please send change of address to IPAT at PO Box 1807, Grapevine, TX 76099. Subscriptions are included with membership dues to IPAT. CONTRIBUTING EDITORSSuzanne PainterAnna Marie SkoniecznyCorinna Siu REGIONAL REPORTERSJane WrightLinda BadgerCarol PicklerEtsuko Hanajima Seo Yeon ChoFresia Leigue Maya Fares GRAPHICS ARTISTS Corinna SiuJanice WilliamsJason Williams Editorial Board COPY DIRECTORSuzanne PainterLetha SandiferPeggy HodgsonVal Naber

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442 0 2 5 I P A T O N L I N E C O M P E T I T I O N 2025 IPAT COMPETITION-A LONG HISTORYCOMPOSITION/DESIGNIPAT’s competition dates back to 1960 with its first convention. For years,it was in person. In 2020, it shifted to online to allow for greaterparticipation. Rather than comparing one work to another, each piece isjudged on its own merit. Score totals determine the award category. Each person competes against their toughest competitor--themself. Allaward winners - Gold, Silver, and Bronze have the opportunity to befeatured in the IPAT magazine, newsletter and/or social media. The principles of art provide fundamental guidelines thatartists use to organize and arrange the visual elements intheir work. They are concepts such as balance, proportion,emphasis, rhythm, unity, and variety. By applying theseprinciples effectively, participants can create visuallyappealing and harmonious compositions that captivate theviewer's attention.The elements of art serve as the basic building blocks of anyartwork. They include line, shape, form, color, value, texture,and space. By skillfully utilizing these elements, participantscan effectively communicate their ideas and conceptsthrough their artwork.OVERALL UNITYCLARITY OF EXPRESSIONEnsure all parts of the artwork belong together andcontribute to its overall harmony, no parts awkwardly left outof place.Overall unity can be achieved through the skillful repetition ofartistic elements such as color, value, and line.The elements and principles of art convey mood and emotion, e.g.,Jagged, erratic lines convey tension or unease, while smooth,flowing lines evoke a sense of calm or serenity.Angular and sharp shapes create a sense of energy oraggression, while soft and rounded forms evoke feelings ofcomfort or gentleness.Warm hues like red and orange evoke passion, energy, orwarmth, while cool tones like blue and green evoke calmness,tranquility, or sadness. Vibrant and saturated colors conveyexcitement or intensity, while muted or desaturated colorsevoke subtler or melancholic moods.The following explanation on the judging criteria can help you to designyour entries. Please review the terms below and apply to your design forthe best results. 4

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2 0 2 5 I P A T O N L I N E C O M P E T I T I O N 2025 IPAT COMPETITION-A LONG HISTORYCOMPOSITION/DESIGNIPAT’s competition dates back to 1960 with its first convention. For years,it was in person. In 2020, it shifted to online to allow for greaterparticipation. Rather than comparing one work to another, each piece isjudged on its own merit. Score totals determine the award category. Each person competes against their toughest competitor--themself. Allaward winners - Gold, Silver, and Bronze have the opportunity to befeatured in the IPAT magazine, newsletter and/or social media. The principles of art provide fundamental guidelines thatartists use to organize and arrange the visual elements intheir work. They are concepts such as balance, proportion,emphasis, rhythm, unity, and variety. By applying theseprinciples effectively, participants can create visuallyappealing and harmonious compositions that captivate theviewer's attention.The elements of art serve as the basic building blocks of anyartwork. They include line, shape, form, color, value, texture,and space. By skillfully utilizing these elements, participantscan effectively communicate their ideas and conceptsthrough their artwork.OVERALL UNITYCLARITY OF EXPRESSIONEnsure all parts of the artwork belong together andcontribute to its overall harmony, no parts awkwardly left outof place.Overall unity can be achieved through the skillful repetition ofartistic elements such as color, value, and line.The elements and principles of art convey mood and emotion, e.g.,Jagged, erratic lines convey tension or unease, while smooth,flowing lines evoke a sense of calm or serenity.Angular and sharp shapes create a sense of energy oraggression, while soft and rounded forms evoke feelings ofcomfort or gentleness.Warm hues like red and orange evoke passion, energy, orwarmth, while cool tones like blue and green evoke calmness,tranquility, or sadness. Vibrant and saturated colors conveyexcitement or intensity, while muted or desaturated colorsevoke subtler or melancholic moods.The following explanation on the judging criteria can help you to designyour entries. Please review the terms below and apply to your design forthe best results. F O R M O R E I N F O R M A T I O N C O N T A C T : AWARDS AND PRIZESCATEGORIES AND REGISTRATIONAwards are determined by total score GOLD, SILVER, and BRONZE Digital Award CertificatesOpportunity to be featured in IPAT’s publications and media Porcelain Painting (PP)--Artist’s choice on style and themeMixed Media (MM)--hand built porcelain, or a porcelain piece that alsoincorporates another product/substance; such as, glass, wood, metal, paperor anything else; however, the piece must be mostly porcelain.August 1-15, 2025 - Submit photos and pay by PayPal or credit card onthe IPAT website$30 USD per entrySept 30, 2025 – Results released to participants REQUIREMENTS ON IMAGESMANDATORY RULESUse solid non-textured plain background NO flash, no frame, with or without glass, no digital date markings Take one picture per side of artwork if it is multi-sided .jpg of the highest quality setting; Resolution 300+ dpi/ppi or higher (A4)Name the .jpg with your name, membership number, category andartwork name eg: Judy Smith-11260-PP-Happy Memory Members only; IPAT’s decisions are final. Original artwork only - Paint from your imagination or your camera, NOCOPYING. NO class work, NO nudity art and NO decals or purchasedunderstructure or guidelines. Only Mixed Media Category allows glued pieces or attached or unfiredmaterials. All entries must be painted by the submitting artist.Artworks must not have been entered in any IPAT contest, orpublication.All entries are subject to legal use by IPAT in publications and media. PRIZE FOR TOP 5 SCORERS : Free Virtual Magazine Membership for 2026 JUDGING SYSTEMYour Regional RepresentativesIPAT Office Manager at office@ipatinc.org 5

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Chairman’s Message We enter the second quarter of 2025 energized by IPAT’s accomplishments and buoyed by our members’ enthusiasm and talent. Over the past year, we have hosted a successful convenon in Grapevine, Texas; expanded our Museum hours reaching record numbers of visitors; expanded our Zoom lessons and our library has blossomed to over 50 lessons. Our Newsleer is now a respected online publicaon. We increased our Museum holdings - including one of the largest collecons of anque porcelain gurines in the United States - and added a new research library. We saw wonderful works submied for our “From the Boll to the Bolt” exhibion and we had a successful online compeon. How did we do all this? It is because of YOU. But to keep our forward momentum, we sll need your help. How? Paint. Create studies and submit arcles to Porcelain Arst and the newsleer. Parcipate in Zoom lessons…maybe even host one. If you live in North Texas, we need you to teach classes at the Museum, lling a long-needed role. Please keep your IPAT membership acve and encourage those in your clubs to do the same. Invite your friends to lessons on china painng to grow interest in the art. Together is a powerful word. It is how IPAT helps us grow our skills and expand our ideas. We need YOU to support IPAT with donaons of me and money so we can keep growing at a me when china painng is shrinking. They say teamwork makes the dream work. Team “IPAT“ loves to dream. President’s Message Suzanne Painter IPAT Chairman 2024-26 Dear Porcelain Painters, I send a rose to all of you. A rose that I wish you to have as a member of IPAT. Roses are so much. They come in all colors, just like us. Let all the roses grow well together. In this way, we can highlight the joy of porcelain painng in the world together. Whether the knowledge is at a higher or beginner level does not maer. It is the joy and the desire to create that counts. We just reach higher and higher. We are conveyors of an art form that has existed for many hundreds of years. Learning from both old and new art together. In this way, we have become a large bouquet of roses. Growing strong and secure in a fantasc and excing art form. IPAT binds us as a ribbon on a bouquet, represenng the vibrance of porcelain painng in the world. Audny Thuestad IPAT President 2024-26 6

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Daphne Stevens How the Cover Art Was Made Designing this artwork was a bit challenging because I wanted to incorporate some unique textures and eects while keeping a tradional rose composion. The rst step was to measure approximately a one-inch border on both sides of the design using auto striping tape. Rose vinyl designs were hand drawn in a digital app by the arst and then transferred to a cung machine. Each rose and leaf vinyl design was strategically placed in the bordered area. This served as a resist. A combinaon of base for gold and armadillo oil was mixed to a slightly thick consistency, brushed on, and then sponged over the vinyl rose designs. This area was dried with a blow dryer and the vinyl was removed with pointed tweezers. I have some free tutorials on You Tube showing this technique. The rst painng was achieved at the same me as the border design. This painng is done on a 5 x 7 substrate le that is very thin and has a ma bisque nish. When painng on bisque, a ny bit of open medium rubbed onto the surface helps the paint glide easier. This was not applied under the border area. The pink roses were painted in a tradional method using light, medium, and dark ruby shades with a light wash of mixing yellow on the second painng. The leaves were painted with values of light, medium, and a dark green. The substrate painng was red at .017 or 1450 degrees. The second painng required taping o the border area with striping tape. A coat of copper luster was applied over the textured border. On the second painng of the roses, stronger values of dark ruby enhanced the roses while darker greens created depth in the shadow areas. Subtle touches of dark ruby were strategically placed on the leaves for repeon of color ow. Gentle washes of these colors were used in the atmospheric background. A few shadow shapes were added with a mix of dark ruby and the darkest green. Stamens and centers of the owers were a mix of yellow brown and pecan. Artwork was red again at .017. The third painng was just a few touches of color where needed on the owers and leaves. Using a double stripe tape on the edge of the border, a small black band helped to frame and accent the edge of the textured copper border. The roses on the border were pen worked in a mixture of black and ruby to bring out the details of the petals and leaves. Third ring was .017. The nal presentaon of the artwork is displayed with a backlight easel in my home. To see the work being created, scan the right QR code To go to Daphne’s YouTube channel and view tutorials, scan the movie camera QR code 9

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Rosemarie Radmaker Oregon, USA By her daughter, Susan Luon Rosemarie, a nave of Portland, began her china painng journey in 1959 aer graduang from St. Mary’s Academy and majoring in art at the University of Washington. She found joy in the challenge of applying slippery china paints to porcelain, viewing the kiln opening as an excing ritual. Aer her husband's death in 1970, Rosemarie painted full-me to support her two children as a single mother, never remarrying. Although her studio was in her basement, she traveled extensively throughout the U.S. and internaonally, conducng seminars and selling her work at popular shows. She encouraged new arsts to experiment with painng. Roses were her favorite subject. Rosemarie was dedicated to elevang porcelain painng as a legimate art form, serving in various organizaons and publishing numerous arcles. A highlight of her career came in 1975 when she met feminist arst Judy Chicago, who sought Rosemarie’s experse for “The Dinner Party,” a signicant installaon artwork that combined china painng, texle and other art forms to create 39 elaborate place sengs honoring inuenal women throughout history. Rosemarie contributed as a technical advisor and had work displayed at the Brooklyn Museum of Art during the exhibit “The Making of the Dinner Party.” Following her passing in April, Rosemarie’s family held a celebraon of life and art show at her daughter’s home, showcasing her extensive body of work. She would have been immensely proud. 10

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White Roses Whenever I paint white roses, or any other white ower on porcelain, I always remember the movie “Karate Kid” and the scene, “wax on, wax o.” And I'm thinking, “paint on, paint o.” Prior to beginning a rose painng I pull out my 3-ring binder that has a zillion of my rose photos and just as many pictures of painted roses by various arsts. These are my inspiraon to create my own painng. The rst thing to decide is whether I want a warm or a cool painng, then I choose my colors. The second thing I do is to use my scroller to sketch on the piece where my main ower will be, painng a half circle and some choppy marks where the center will be. This might be close to the half circle if I want an opened rose, or higher up if the rose just reached what I would say is its peak as a blossom. Never place your main ower exactly in the middle of the piece, nor point it to the outside edge that is closest to the ower. Instead, point the open rose into the porcelain piece. Place a small arrow to give direcon for the bloom. Next, I like to snug up a buddy blos-som and make sure it is not poinng exactly where my star blossom is poinng, nor exactly the opposite direcon. Usually the third, fourth and h blossoms will be in another stage of growth, but not always. Not using a line drawing ensures that I never have the same painng more than once, and every piece is a new creaon. Summer Celeste Arizona, USA 28

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FRANCE Simona-Marina Braathen NORWAY Anna Marie Skonieczny Susan Greathouse Audny Thuestad UNITED STATES Michelle Wong Julie Lawrence Midwest Porcelain Art School Or visit mwpas.org NOVEMBER 10-13, 2025 A FOUR DAY SCHOOL 2025 TUITION The cost for the four day school includes classes, class ring, lunch evening acvies and a banquet dinner on Wednesday evening. Total tuion is $495.00. A $75.00 deposit is required for class registraon. Please remit all payments to: MPAS c/o Regina Vandivier 949 Virginia Ave., Penthouse Suite Indianapolis, IN 46203 A SCHOOL FOR BEGINNERS TO ADVANCED TEACHERS AND CLASSES 4 DAYS MONDAY-THURSDAY 1. Randy Wollet (Jeerson, WI) Christmas Bowl 2. Nancy West (New Bloomeld, MO) Raised Paste & Gold 3. Nancy Fisher (Fostoria, MI) Watercolors (Landscape) 4. Susan Thumm (Pearsall, TX) Sll Life/Landscape (Tile) 5. Alzora Zaremba (White Salmon, WA) Grapes (Tile) 6. Paula LaVergne (Lake Charles, LA) Animal of Choice (Tile) 7. Aysa Baldwin (Fredericksburg, VA) Iris (On a Box) 8. Kathleen Feller (New Braunfels, TX) Portrait of Choice (8x10 Tile) 9. Kathy Lewis (Adel, IA) Fruits/Flowers of Choice (8x10 Tile) 35

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Cotton Flower on Matte Background By Dr. Corinna Siu, Hong Kong This educational study aims to demonstrate practical applications of the IPAT Workshop learning. In the previous issue, we showcased Nancy Bergman’s workshop, "Luster Daisies on Matte Background," along with the unfired artworks created by participants. This article explores how similar techniques can be applied to the "Cotton…From the Boll to the Bolt" Grant Project.  Use Blue-Tack to place the oval tile on the back of a bigger tile so that you can paint the edge and hold the painted tile to the kiln. Blue-Tack fired off as ashes and can be removed easily.  Design and outline a cotton flower on an oval tile. Apply Red Resist to the inside edge of the flower. Mix Matte Light Green with MX54, apply on the background and dab smoothly with a sponge. Use hair dryer to dry the paint. Remove Red Resist when it is completely dry. Use small brushes, paint the bract and the stem with Rich Brown and Sienna mixed with MX54.  Use hair dryer to dry the painted area completely. Apply a thin layer of Turquoise MOP to the cotton area with a synthetic brush. This results to the below porcelain painting. Fix real cotton to the flower to make it a Mix Media porcelain art. Teachers from IPAT Asia Chapterhave added their beautifulporcelain artworks to the wall,creating a cohesive atmospherethat feels like a demonstrationunit. This display highlights theresilience and creativity of urbanlife, appreciating the vibrant spiritof our modern living spaces.Teachers from IPAT Asia Chapter arehelping to bring traditional porcelainart into the home through an artinstallation at a furniture store. Invited by PapaHome淘寶家具實體店,IPAT Asia Chapter, in collaborationwith The Hong Kong PolytechnicUniversity, has created a strikingfeature wall at the new furniture andlifestyle superstore. This installationintegrates old furniture into the wall,allowing visitors to experience a livingroom that captures the essence of aclassic furniture store.37

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Spreading the Fun Ann Trive Mancebo Florida, USA My mother, Violet Trive, started painng in the 70s. I have included a few examples of her work. Aer several years, she became an IPAT teacher. She gathered in a few students from the community and began classes. She enjoyed teaching, but her busy life got in the way of consistent classes. Her most fun was teaching family members and, most of all, her young granddaughter, Briney Trive. Violet started Briney’s painng life as soon as she could hold a brush. As good fortune would have it, Briney loved painng and showed great talent for art. So much so that she studied art through and beyond the college years. Her art has expanded from china painng to also include many other mediums, and her creavity can be found in everything she does. I included an early piece she and her grandmother painted. It is of her horse Reno. I began china painng in the ‘00’ years. My mother was ecstac and so was I. Unfortu-nately, in these years that I began to develop my painng skill set, her abilies began to wane with age and a decline in cognion. I have included two of my pieces. Painted by Violet Trive The real fun came along when my two grand-daughters asked me to teach them to paint. I couldn’t put the drop cloth down soon enough! We began with the basics: brush care and practicing the basic strokes. They had their own ideas about what they wanted to paint, with no interference from Grandmother. Emlyn Rose, the older of the two, painted a plate full of love to give to her mother. I include here a dragonfly she painted when she was about nine years old. Her sister, Camille, wanted to paint a flower on a sunny day (at left). She was about six years old. Now that they are older, their attention is more focused on school, sports, and social; but they still want to know about what I’m painting. All the painters in my family have had tons of fun and many sunny days down through our genera-tions of China painters. Painted by Ann Trive Mancebo Horse by Britney Trive 51

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Grapes Peg Pelter Nebraska, USA Think of a bunch of grapes in layers. There are the ones almost completely covered by other grapes, there are the ones that are covered by two grapes, there are the ones that are covered by only one grape, and the grapes that rest on top. So, paint the grapes that are almost completely covered darkest and each layer should be lighter. The grapes that rest on top will have the least amount of color. The shadow grapes were painted after the clusters were finished. They are almost transparent but still have some shading to give them volume. They were painted in navy or a grayed blue. The shadows and the background were painted last. The shadows in these grapes are NOT directional. The light is dappled in this set of plates, so use the shadows to enhance clusters of grapes. A light ivory or yellow was used first, then navy/purple/gray shadows were added, and finally faint touches of orange and lime green were added to the background. Note that the design flows from one plate to the next. The branches and vines connect and the leaves sometimes spread over two plates. When hung together as a set they have more weight or presence than a single plate or an unconnected pair. 52

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Porcelain Artist Vol 65 No 2

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