10.2: Color in Ceramics- Glazes and Stains
- Page ID
- 299325
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)The Basics of Slip Trailing
- Definition: Slip trailing involves using a liquid clay (slip) applied to a surface through a nozzle or applicator to create raised designs.
- Technique: The slip is applied in lines, dots, or patterns on leather-hard clay, creating a textured surface.
- Applications: It can enhance surface interest on functional or decorative ware and can be layered for complex designs.
- Tips: Use consistent pressure when squeezing the applicator to ensure even lines and test the slip’s thickness for optimal flow.
Using Engobes for Surface Decoration
- Definition: Engobes are colored slips applied to greenware or bisqueware for a smooth, uniform finish.
- Technique: They can be brushed, sprayed, or dipped, offering versatility for covering large areas or adding detail.
- Applications: Engobes are ideal for adding blocks of color or layering under glazes to enhance depth and complexity.
- Tips: Mix the engobe well to prevent settling, and apply evenly to avoid streaks or cracking as it dries.
Combining Slip Trailing and Engobes
- Creative Potential: Use slip trailing over engobes to add dimensional details on a colored background.
- Layering Effects: Allow the engobe to dry partially before applying slip to ensure clean lines and reduce bleeding.
- Experimentation: Test different tools and techniques, such as fine tips or sponge applicators, for varied effects.
- Firing Considerations: Both slips and engobes should be compatible with the clay body and firing range to prevent peeling or cracking.
Sgraffito and Mishima
Sgraffito: Carving Through Layers
- Definition: Sgraffito involves carving through a colored slip or engobe to reveal the underlying clay body.
- Technique: Apply a layer of slip to leather-hard clay, let it dry slightly, and carve designs using sharp tools.
- Applications: Sgraffito creates intricate patterns and is often used for storytelling or decorative motifs.
- Tips: Keep your tools sharp for clean lines, and experiment with layering multiple slip colors for complex designs.
Mishima: Inlaid Slip Decoration
- Definition: Mishima involves incising lines into clay and filling them with colored slip to create smooth, inlaid designs.
- Technique: After carving the design, apply slip into the incisions and wipe away the excess, leaving the filled lines intact.
- Applications: Mishima is great for adding fine details or contrasting lines, often used on functional ware like bowls and plates.
- Tips: Ensure the clay is at the leather-hard stage for clean carving, and allow the slip to dry before wiping to avoid smearing.
Combining Sgraffito and Mishima
- Layered Effects: Combine both techniques to create detailed and textured surfaces with contrasting elements.
- Complementary Styles: Use sgraffito for bold patterns and Mishima for intricate details to balance the design.
- Creative Exploration: Experiment with different slip colors and clay bodies for unique visual contrasts.
- Durability: Properly compress and smooth the slip and clay to ensure the designs survive bisque and glaze firings.