JP6910183B2 - How to decorate earthenware - Google Patents

Description

The present invention relates to a decoration method for applying a pattern to ceramics.

In order to enhance the design of earthenware, it is common practice to color the surface and decorate the surface with a pattern or the like (for example, Patent Document 1). There are a wide variety of patterns, but patterns composed by manually coloring non-regular lines and dots are complex and highly original.

As an example of a pattern having no such regularity, there is a so-called marble pattern. Marble pattern is a method of filling a container such as a bat with an aqueous solution whose specific gravity is increased by dissolving glue etc. in water, dropping multiple paints on this aqueous solution, and deforming the shape like cutting the paint with a bamboo skewer etc. It is common. At this time, another paint enters the notch of the paint cut by the bamboo skewer, but the paints are mixed because the aqueous solution containing the glue induced by the bamboo skewer enters between these paints. Instead, a marble-patterned paint layer can be formed on the aqueous solution. The marble pattern has a high degree of originality because it is difficult to reproduce the same pattern because the above-mentioned method is used.

Japanese Unexamined Patent Publication No. 09-020579 (Page 2, Fig. 1)

The paint layer of the marble pattern once formed is stationary on the aqueous solution, and the marble pattern can be transferred to the paper, cloth or the like by applying a paper or cloth to the formed paint layer. When this technique is applied and the ceramics are submerged in the aqueous solution through the paint layer, the marble pattern can be hydraulically transferred to the surface of the ceramics that have passed through the paint layer. As described above, since the paint layer of the marble pattern once formed is stationary on the aqueous solution, a part of the pattern can be selected and copied to the surface of the ceramics, but the pattern is stationary. There was a problem that it was not possible to give a sense of dynamism.

The present invention has been made by paying attention to such a problem, and an object of the present invention is to provide a method for decorating earthenware which does not have regularity and can give a dynamic pattern. ..

In order to solve the above-mentioned problems, the method for decorating earthenware of the present invention is:
It is a decoration method that gives a pattern to the surface of ceramics.
The process of pouring oil into a container to form a liquid layer,
A liquid paint having a lower surface tension than the oil forming the liquid layer, which is a liquid mainly composed of alcohol containing Kuresu, which is a pigment, is floated on the liquid layer, and a pattern layer is formed on the liquid layer. And the process of
A transfer step of applying the ceramic to the pattern layer and transferring the pattern of the pattern layer to the surface of the ceramic.
It is characterized by having.
According to this feature, the liquid paint floating on the liquid layer has a lower surface tension than the liquid contained in the container, so that the paint layer formed by the liquid paint by the so-called Marangoni effect is on the liquid layer. Since the surface moves freely in the radial direction, the pattern is gradually deformed immediately after the pattern of the pattern layer is dropped. By transferring the pattern of the gradually deforming pattern layer to the surface of the ceramic, it is possible to apply a pattern having no regularity and a sense of dynamism to the surface of the ceramic.

The pattern layer is characterized in that a liquid paint is dropped onto the liquid layer to form the pattern layer.
According to this feature, the dropped liquid paint collides with the liquid layer and pops, so that an accidental pattern can be formed, and a complicated and dynamic pattern can be formed.

In the previous SL transfer process is characterized in that it comprises a step of immersing the ceramic through the pattern layer on the liquid layer, and a step of pulling the ceramic immersed in the liquid layer into the air.
According to this feature, when the ceramic is immersed in the liquid layer through the pattern layer, the pattern of the pattern layer is transferred to the surface of the ceramic by fluid pressure transfer, and the pattern transferred to the surface forms the liquid layer. The pattern of the pattern layer is suppressed from being transferred again in the step of being coated with the oil and pulled into the air, and a desired pattern can be applied to the surface of the ceramic.

The pattern layer is characterized in that it is formed on the liquid layer by a monochromatic liquid paint.
According to this feature, it is possible to form a dynamic pattern by the shade of the liquid paint.

It is a figure which shows the state which formed the liquid layer in the container in the method of decorating the earthenware in an Example. It is a figure which shows the state which the liquid paint is dropped on the liquid layer. It is a figure which shows the state of the liquid paint dropped on the liquid layer, FIG. It is a figure which shows the state that the liquid paint dropped on is moving. (A) to (c) are diagrams showing how the liquid paint moves on the liquid layer. It is a figure which shows the state before immersing the pottery in a liquid layer. (A) and (b) are diagrams showing how the pattern is fluidly transferred to the pottery. (A) and (b) are diagrams showing how the pottery is pulled up from the liquid layer. (A) to (d) are diagrams showing how the liquid paint moves on the liquid layer after the pottery is pulled up from the liquid layer.

A mode for carrying out the method for decorating the ceramics according to the present invention will be described below based on examples.

Ceramics is a general term for pottery and porcelain, and its shapes range from daily necessities such as tableware plates and vases to non-daily items such as objects. The case will be described as an example.

First, the outline of the procedure for making pottery will be described below.
(1) Knead the soil to be the base material and mold it into a rough shape (molding process).
(2) The molded raw material is naturally dried (semi-drying step).
(3) The base material that has been dried to some extent is shaved to form a final shape (adjustment step).
(4) Further natural drying is performed to dry the substrate (drying step).
(5) Put in a kiln and unglazed at a relatively low temperature to increase the strength of the substrate and completely remove water from the surface of the substrate to enhance the fixation of pigments in the subsequent underpainting process (unglazed process).
(6) The base material after unglazed is painted with paint (drafting process).
(7) Apply glaze to the base material after sketching (glaze process)
(8) Put in a kiln and bake at a higher temperature than in unglazed (main baking process).

The method of decorating the ceramics according to this embodiment is mainly performed by the above-mentioned underpainting step. Next, the sketching process will be described with reference to FIGS. 1 to 8.

As shown in FIG. 1, a liquid is poured into the container 1 to form a liquid layer 2. It is desirable that this liquid is a substantially transparent liquid having a large specific gravity and a large surface tension, and here, it is referred to as oil 7. Further, it is desirable that the container 1 is made of a transparent material such as glass in order to make it easy to confirm the state when fluid pressure transfer is performed to the pottery 3 after unglazed (see FIG. 5).

Next, as shown in FIG. 2, the liquid paint is dropped onto the liquid layer 2 formed in the container 1. It is desirable that this liquid paint has a smaller specific density and a lower surface tension than oil, which is a liquid forming the liquid layer 2, and here, a liquid mainly composed of alcohol contains Kuresu, which is a pigment. Let's assume.

Since the liquid paint droplet 4 dropped on the liquid layer 2 has a lower specific gravity than the oil 7 contained in the container 1, the liquid paint droplet 4 is layered and floats on the liquid layer 2. Further, since the surface tension of the liquid paint droplet 4 is lower than that of the oil contained in the container, the surface of the droplet 4 moves in the radial direction due to the so-called Marangoni effect, so that the shape of the droplet 4 becomes time. The shape is deformed on the liquid layer 2 with the passage of time.

Specifically, as shown in FIGS. 2 and 3A, the dropped liquid paint droplet 4 bursts due to collision with the liquid layer 2, and rings with the portion 4a located at the collision position in the radial direction. It is roughly divided into a portion 4b that is diffused in a shape.

As shown in FIGS. 3 (b) and 3 (c), the portion 4a of the liquid paint droplet 4 located at the collision position due to the action of the Marangoni effect caused by the difference in surface tension between the oil 7 and the liquid paint. Deforms on the liquid layer 2 so as to spread substantially in a ring shape in the radial direction from the center side to the outside (see FIG. 4A). The portion 4a of the liquid paint droplet 4 located at the collision position is deformed into a substantially ring shape, so that the pigment particles contained in the liquid paint droplet 4 spread in the radial direction so as to spread from the center side to the outside. Move (see FIGS. 4 (a) and 4 (b)). Further, the portion 4b diffused in a ring shape in the radial direction immediately after dropping also freely moves on the liquid layer 2 so that the outer diameter of the ring expands in the radial direction by the action of the same Marangoni effect. As described above, the portion 4a located at the collision position immediately after the dropping and the portion 4b diffused in a ring shape in the radial direction form the paint layer 5 with 4 units of the dropped liquid paint droplets.

As shown in FIGS. 4 (a) and 4 (b), due to the above-mentioned Marangoni effect, pigment particles contained in a plurality of dropped liquid paint droplets 4, 4, ... Are radiated on the liquid layer 2. It moves in the direction and moves to the outer edge 5a of the paint layers 5, 5, ..., Which gradually expands in diameter. Then, in the paint layers 5, 5, ..., the outer edges 5a, 5a, ... Of the adjacent paint layers 5, 5, ... Are in contact with each other (collision with each other), and the outer edges 5a, 5a of the paint layers 5, 5, ... , ... The pigment particles contained in the respective paint layers 5, 5, ... Concentrate at the intersections of the paint layers, forming a thick ring (see FIG. 4 (c)).

Further, the moving force acting in the direction of increasing the diameter of the outer edges 5a, 5a, ... Due to the Marangoni effect is that the outer edges 5a, 5a of the facing paint layers 5, 5 are pressed against each other, and these outer edges 5a, 5a are pressed against each other. The deformation speed in the diameter expansion direction becomes slow.

As shown in FIGS. 4A to 4C, the pattern layer 6 is formed by the aggregate of the paint layers 5, 5, ... On the surface of the liquid layer 2. 4 (a) to 4 (c) show a part of the pattern layer 6 formed on the surface of the liquid layer 2. In the pattern layer 6, the amount of pigment particles contained in the droplets gradually becomes coarser with the passage of time at the collision position immediately after the droplets from the dropping until the influence of the Marangoni effect disappears, and the paint layer 6 The outer edges 5a, 5a, ... Of 5, 5, ... Are continuously changed in shape, in which the portions where the outer edges 5a, 5a, ...

In the sketching process, as shown in FIGS. 5 to 6, the surface of the pottery 3 is brought into contact with the pattern layer 6 that is undergoing gradual deformation, so that a part of the pattern layer 6 is the surface of the pottery 3. Is transferred to (transfer process). Specifically, when the pottery 3 is immersed in the liquid layer 2 through the pattern layer 6, the pattern layer 6 is sandwiched between the liquid layer 2 and the surface of the pottery 3, and fluid pressure transfer is performed on the surface of the pottery 3. The surface of the unglazed pottery 3 has fine irregularities, so that the pigment constituting the pattern layer 6 can easily permeate the pottery 3.

When a part of the pattern layer 6 is transferred to the surface of the pottery 3, the shape of the pattern layer 6 on the surface of the liquid layer 2 changes with the passage of time. Since the pattern of fluid pressure transfer to the surface of the pottery 3 changes depending on the timing of entering the liquid layer 2 through, ..., the speed at which the pottery 3 is moved, etc. Can be transferred to the surface of (see FIGS. 6 (a) and 6 (b)). Further, the pattern 6a to be transferred differs depending on the portion of the pattern layer 6 formed on the surface of the liquid layer 2 in which the pottery 3 is immersed.

Further, since the pigments contained in the paint layers 5, 5, ... Continue to move until they come into contact with the surface of the pottery 3 and are fixed, the pattern 6a having a dynamic feeling can be applied to the surface of the pottery 3.

Further, since the liquid paint is dropped on the liquid layer 2, the droplet 4 collides with the liquid layer 2 and pops, so that an accidental pattern can be formed, and a complicated and dynamic pattern is formed. be able to.

Subsequently, as shown in FIGS. 7A and 7B, the pottery 3 immersed in the liquid layer 2 is pulled up into the air. As described above, when the pottery 3 is immersed in the liquid layer 2 through the pattern layer 6, the pattern 6a transferred to the surface is coated with the oil 7 in the liquid layer 2. Therefore, the pigment contained in the pattern layer 6 is suppressed from being transferred again in the step of pulling it into the air, and the desired pattern 6a can be applied to the surface of the pottery 3.

Further, as shown in FIGS. 8A to 8D, when the surface of the pottery 3 is brought into contact with the pattern layer 6 and a part of the pattern layer 6 is transferred to the surface of the pottery 3, the pottery 3 A part of the pattern layer 6 of the portion transferred to the surface is lost, but since the liquid paint moves on the liquid layer 2 due to the Marangoni effect, the liquid paint enters the defective portion and a new pattern is formed. .. That is, the pattern layer 6 is naturally restored. Therefore, if the restoration of the pattern layer 6 is awaited, the pattern can be transferred to a plurality of pottery 3 at a predetermined position on the surface of the pattern layer 6, and the workability at the time of mass production is excellent.

Further, since the pigment is contained in alcohol in the liquid paint, the pigment is convected in the alcohol due to the volatilization of the alcohol. Therefore, in addition to the above-mentioned Marangoni effect, the change in the pattern of the pattern layer 6 is more complicated and dynamic. It can be something.

In addition, since the pigment contained in the liquid paint is a monochromatic Kuresu, the density distribution of the pigment in the pattern layer 6 formed by the Marangoni effect forms shades on the surface of the pottery 3, creating a dynamic pattern. Can be formed. Furthermore, when Kuresu is dissolved in tea or water, it becomes a mass of fine particles and can be distributed relatively uniformly, but with alcohol, it does not form a mass of fine particles and is moderately unevenly distributed in alcohol (Fig. 4 (Fig. 4). (A) to (c) and FIGS. 8 (a) to (d)), and a complicated pattern without reproducibility can be formed on the surface of the pottery 3.

In addition, since the conventional general marble pattern is formed by using an aqueous solution of starch paste in the liquid layer, if such a method is simply used in the sketching process in the making of pottery, When the marble pattern is hydraulically transferred, impurities such as starch paste constituting the aqueous solution adhere to the surface of the unglazed pottery, and the starch glue or the like causes scorching on the surface of the pottery during the main firing. There was a risk. Further, in order to prevent such scorching, it is conceivable to draw a marble pattern directly on the surface of the unglazed material, but expressing a natural marble pattern is a very complicated work. However, in the method of decorating the ceramics of this embodiment, since oil is used for the liquid layer, it is possible to prevent scorching in the main baking process.

Although examples of the present invention have been described above with reference to the drawings, the specific configuration is not limited to this embodiment, and any changes or additions within the scope of the gist of the present invention are included in the present invention. Is done.

For example, the liquid forming the liquid layer 2 poured into the container 1 is not limited to oil as long as it has a higher specific gravity and surface tension than the liquid paint dropped on the liquid layer 2, and is not limited to oil. May be a different alcohol or the like.

Further, the liquid paint is not limited to a liquid using alcohol as a seed, and forms, for example, a liquid layer 2 as long as it is a liquid paint having a smaller specific gravity and a lower surface tension than oil, which is a liquid forming the liquid layer 2. An oil different from the oil may be used.

Further, the above-mentioned decoration method may be performed not in the underpainting step before the main baking step but in the overpainting step after the main baking step. Further, the pigment constituting the liquid paint does not have to be Kuresu. For example, when decorating in the underpainting process, iron paint or the like may be used, and when decorating in the overpainting process, so-called Use overpainted glaze.

Further, the liquid paint may be dropped on the liquid layer and then the paint layer may be deformed with a bamboo skewer or the like. Further, the pattern layer 6 is not limited to the mode in which the liquid paint is dropped onto the liquid layer 2, for example, the liquid paint is poured into the liquid layer 2 and waits until the liquid paint floats on the liquid layer 2. It may be formed by.

Further, after the pottery 3 immersed in the liquid layer 2 is pulled up into the air, the pigment can be attached to the surface of the pottery 3 in a state where the oil on the surface is dried to some extent, so that the pottery 3 comes into contact with the pattern layer 6 again. It is also possible to stack them by letting them overlap, which makes it possible to apply a complicated and dynamic pattern to the surface of the pottery 3.

1 Container 2 Liquid layer 3 Pottery 4 Droplets 5 Paint layer 5a Paint layer outer edge 6 Pattern layer 6a Pattern 7 Oil

Claims (4)

It is a decoration method for giving irregular patterns to ceramics.
The process of pouring oil into a container to form a liquid layer,
A liquid paint having a lower surface tension than the oil forming the liquid layer, which is a liquid mainly composed of alcohol containing Kuresu, which is a pigment, is floated on the liquid layer, and a pattern layer is formed on the liquid layer. And the process of
A transfer step of applying the ceramic to the pattern layer and transferring the pattern of the pattern layer to the surface of the ceramic.
A method of decorating earthenware, which is characterized by being equipped with. The method for decorating earthenware according to claim 1, wherein the pattern layer is formed by dropping a liquid paint onto the liquid layer. Claims in the previous SL transfer step, characterized in that it comprises a step of immersing the ceramic through the pattern layer on the liquid layer, and a step of pulling the ceramic immersed in the liquid layer into the air The method for decorating earthenware according to 1 or 2. The method for decorating earthenware according to any one of claims 1 to 3, wherein the pattern layer is formed on the liquid layer by a monochromatic liquid paint.

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