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The history of ceramic repair is vast and ranges from different methods and methodologies. For example, in 16th century China, people would repair broken ceramics by using pieces from other objects to disguise the patch. A sixteenth-century manuscript describes the process of patching broken ceramics:
Missing fragments were replaced with new glazed and fired pieces of pottery and gaps were filled in with plaster. The surface was then painted, sometimes extensively. [1] Materials used included shellac, protein glues, oil paints, gypsum, plaster of Paris, barium sulfate, calcite, clay, kaolin, and water glass (calcium silicate). [3]
China painting, or porcelain painting, [a] is the decoration of glazed porcelain objects, such as plates, bowls, vases or statues. The body of the object may be hard-paste porcelain , developed in China in the 7th or 8th century, or soft-paste porcelain (often bone china ), developed in 18th-century Europe.
Vitreous enamel, also called porcelain enamel, is a material made by fusing powdered glass to a substrate by firing, usually between 750 and 850 °C (1,380 and 1,560 °F). The powder melts, flows, and then hardens to a smooth, durable vitreous coating.
Ceramic glaze, or simply glaze, is a glassy coating on ceramics. It is used for decoration, to ensure the item is impermeable to liquids and to minimize the adherence of pollutants. It is used for decoration, to ensure the item is impermeable to liquids and to minimize the adherence of pollutants.
Lacquerware is a longstanding tradition in Japan [6] [7] and, at some point, kintsugi may have been combined with maki-e as a replacement for other ceramic repair techniques. . While the process is associated with Japanese craftsmen, the technique was also applied to ceramic pieces of other origins including China, Vietnam, and Kor
Crazing is a spider web pattern of cracks penetrating the glaze. It is caused by tensile stresses greater than the glaze is able to withstand. [1] [2] Common reasons for such stresses are: a mismatch between the thermal expansions of glaze and body; from moisture expansion of the body; and in the case of glazed tiles fixed to a wall, movement of the wall or of the bonding material used to fix ...
The colours applied on top of the glaze blended into it during firing (the technique thereby differing from underglaze painting used with transparent glazes). [24] The disadvantage was that only a narrow group of pigments produced good colours after firing at the relatively high temperatures of up to 1,000 °C (1,800 °F).
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