DE36305C - Process for decorating glazed porcelain with raised enamel - Google Patents

Description

IMPERIAL

PATENT OFFICE.

Applying raised enamel pictures to the glaze of porcelain ware is still valid until now impossible in porcelain production, since the enamel, as soon as it has become liquid, the glaze of the porcelain, which is also becoming liquid, breaks through and on the unglazed Porcelain does not find a hold. In order to offer the necessary resistance to the liquid enamel, gold was placed over the glaze of the porcelain and then on the cover formed in this way Enamel applied. Such a method of production was too efficient for production cumbersome and expensive, so that they can only be used on an experimental basis or in the case of expensive works of art was applied. Other attempts were equally unsuccessful. I believe now through my procedure outlined below having solved this problem in the easiest way by going through the same Apply raised enamel decorations to glazed porcelain just as easily as cheaply.

After making the recess of engraved or etched metal plates with fire-proof porcelain paint When I have filled in, I lay paper as thin as possible on the engravings and roll the same slightly on. The refractory porcelain paint adheres to and can with the paper removed from the metal plates.

The paper, on which the refractory porcelain paint now forms raised lines, ■ becomes with the latter facing down on the glaze of the porcelain and the drawing through Pressing the paper evenly attached. After paint and paper about 48 hours are dry, you simply wash the paper off. After doing this single When fields are limited by raised contours, easy-flowing enamel is used into the fields contained by the raised contours of porcelain paint, namely each with a field of enamel of a certain color. This enamel comes on top of the porcelain glaze to lie. Now the goods are fired and the muffle is quickly cooled as soon as the enamel becomes clear. During the When the enamel is fired, it first becomes liquid and softens part of the porcelain glaze but only so little in the places where the enamel touches the latter that the glaze cover the liquid enamel still carries and so it is not possible for the enamel to penetrate through the glaze. The contours forming refractory porcelain paint, while the enamel becomes liquid, serves as the latter Partition so that the enamels cannot flow into one another. For the moment in which the porcelain glaze comes into contact with the enamel that becomes liquid and the contours close to softening begin to soften, the contours penetrate refractory paint in the porcelain glaze and the enamel gets a round, after the Raised figure towards the middle of the fields. The latter gives the ornament a tremendous look nice appearance by showing the different colors of the enamel also as the body of stand out from each other and from the porcelain glaze.

For stoneware is from Seger in the Thonindustrie-Zeitung, 1884, a method of glazes to apply to unglazed earthenware mass in different colors, described.

Claims (1)

How clear, however, from the production of the contours described there If the gypsum form is scratched, different colored glazes are made using this method Applied to unglazed earthenware, only with the difference from the commonly used Glazing of the earthenware, that raised contours of earthenware mass by molding or Layers are formed, which prevent the glazes from running into one another. if This last-named partial procedure also has a certain resemblance to the relevant one Has elements of my method, the difference itself with regard to this inventive element is between mine and the one described Procedure a major one. The ribs protruding from the surface of the "earthenware" are connected to the raw earthenware body in such a way that they form one piece with the latter, while in my process between the porcelain body and the contours refractory paint the glaze layer lies; this peculiarity has the consequence that at In my process the contours sink into the glaze during firing, so that the liquid enamel, which, as it becomes liquid, is still contained by the contours becomes, when it cools down, acquires a curved shape. In contrast to the glazing of the earthenware Even after firing, the ribs still protrude above the earthenware mass, as they form an unchangeable whole with them turn off. Furthermore, the occurrence during the firing in my procedure is one of completely different from the published procedure. The glaze adheres to the latter raw earthenware, as is generally the case with glazing. In my procedure on the other hand, the enamel is applied to the already glazed goods and softens when fired part of the porcelain glaze to bond with it, while the contours are made refractory porcelain paint penetrate into the softened glaze. PATENT claim: A method of applying relief-like decorations made of enamel to glazed porcelain, by applying raised contours made of fireproof porcelain paint to the glaze of porcelain ware, in the delimited thereby Fields lightly flowing enamel enters and then under bright gold temperature for so long burns until the enamel appears clear; and the contours are made of refractory porcelain colors in the glaze of the porcelain penetrate and the enamels have bonded with the glaze.