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Underglaze is a method of decorating pottery in which painted decoration is applied to the surface before it is covered with a transparent ceramic glaze and fired in a kiln. Because the glaze subsequently covers it, such decoration is completely durable, and it also allows the production of pottery with a surface that has a uniform sheen.
Underglaze decoration is applied before the glaze, usually to unfired pottery ("raw" or "greenware") but sometimes to "biscuit"-fired (an initial firing of some articles before the glazing and re-firing). [10] [11] [12] A wet glaze—usually transparent—is applied over the decoration. The pigment fuses with the glaze, and appears to be ...
In-glaze or inglaze is a method of decorating pottery, where the materials used allow painted decoration to be applied on the surface of the glaze before the glost firing so that it fuses into the glaze in the course of firing. [1] [2] It contrasts with the other main methods of adding painted colours to pottery.
Before firing, ceramics can be burnished or polished to a fine sheen with a smooth instrument, usually a stone. Glazes are seldom used by indigenous American ceramic artists. Grease can be rubbed onto the pot as well. [2] Prior to contact, pottery was usually open-air fired or pit fired; precontact Indigenous peoples of Mexico used
The opacity and whiteness of tin glaze encourage its frequent decoration. Historically this has mostly been done before the single firing, when the colours blend into the glaze, but since the 17th century also using overglaze enamels, with a light second firing, allowing a wider range of colours. [2]
Before firing and glazing the vessel, the leaves are cut or carved into the desired shapes and then applied to the lacquered surface. The leather is then covered in clear glaze and fired at controlled, low temperatures. This firing fuses the leaf to the surface while burning away excess lacquer.
Like many earlier wares, modern porcelains are often biscuit-fired at around 1,000 °C (1,830 °F), coated with glaze and then sent for a second glaze-firing at a temperature of about 1,300 °C (2,370 °F) or greater. Another early method is "once-fired", where the glaze is applied to the unfired body and the two fired together in a single ...
A second typical defect is from poor design and construction. An example of this would be a ceramic piece with a handle too thin to support the weight of the cup. A third manufacturing defect is careless firing: a ceramic piece that has been fired too rapidly or allowed to dry unevenly will crack or break. [4]: p.20
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