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BONE DRY : Completely dry (and very brittle) state clay must reach before firing.
CLAYBODY : Clay mixture formulated of clays and other ceramic raw materials to give desired working characteristics.
GREENWARE : Any dry, unfired clay form.
PORCELAIN : High fired vitreous claybody containing kaolin, silica, fluxes, and often ball clay to increase plasticity, with total clay component not more than 50%. Usually pure white or “eggshell” in color, some porcelains may fire translucent where thin.
RESIST : Material used in glazing and decorating which can be applied to surface to prevent adhesion of slip or glaze. Resists may be in the form of tape or adhesive-backed paper, or liquid. Common liquid resists include water-emulsion WAX RESIST, hot wax, and LATEX. See WAX RESIST, LATEX, SHELLAC RESIST.
Shellac Resist : Resist technique using shellac, which gives an extremely durable resist surface. Common technique involves application of design with shellac over bone dray clay, followed by aggressive damp sponging, removing clay, leaving resisted areas in raised relief.
Texture : is the surface quality or "feel" of an object, its smoothness, roughness, softness, etc. Textures may be actual or simulated.
Translucency : is the material property of allowing light to pass through.
1. Be gentle with the greenware piece. Many excellent pieces have been broken at the last moment. Be careful not to use too much water at any one time, otherwise cracks may appear, especially on thin ware.
2. Further effects can be achieved by additional carving.
3. Fire the porcelain pieces as hot as you can. Many porcelains are translucent at cone 10 (2350 degrees farenheit).
Celadon glazes or a transparent glaze make the best glazes for these types of pieces.
Sometimes “water etched” artists use no glaze prefering to leave the white porcelain showing.
This process is also called Shellack Resist and Hydro-Abrasion.
Some people use Shellack. It is more durable than acrylic paint as a resist but is harder to clean up. Some people try wax but it isn’t as durable. I think acrylic paint is a good middle ground. All three burn out in bisque firing leaving little to some residue.
Ceramics Art Daily (online) has a good article about this process.
Process Here a layer of resist is applied and the clay is washed with a wet sponge. Then a second layer of resist is applied and washed again. This creates multiple levels on the piece.
Les Blakesboragh IXL Ginko ; 2006 deep etched / unglazed / polished / made '06 120mm ht x 190mm x 127mm Oval Form; “Homage to Sally deep etched / unglazed /polished /made '05 140m ht x 200mm x 130mm
Les Blakesboragh Bowl "Macdonald Ranges Eucalyptus“; deep etched / unglazed / polished / made '06 / 170mm ht x 200mm dia. Bowl "Forest Floor“; made '06/ 170mm ht x 200 dia.
Les Blakesboragh Oval form " Derwent River“; deep etched/unglazed/ made 2006/ 100mm ht x 110 - 80mm dia. Oval Form; In the long grass with Claudia Rose ; deep etched / unglazed / polished / made '06 / 200mm ht x 170mm x 120mm
Arne Ase Bowl ; Porcelain Dia. 35cm 1993 Bowl ; Porcelain Dia. 30cm 2001
Arne Ase Porcelain Bowl ; h 25cm 1990 Bowl; Porcelain h35cm 2001
Arne Ase Porcelain Painting; 30cm×55cm Porcelain Relief; 30cm×60cm 1990 年