Shapes & Material Test
Upholystery/Armchair/Filling material
Small Research
I have found that most of the ones that use glazing material with an airbrush use a on-glaze. You can retain the shape and colour of the airbrush relatively perfectly. However, it is worth noting that the firing temperature for on-glazes is relatively low between 700-900, which limits the choice of clay and other glazes. It also inspired me as to whether colour and form would be better retained at lower temperatures.
Small Research
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Because of the thinness of the glaze, especially on the edges, the transparent glaze applied by wetting may dissolve the glaze on the edges.
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At the same time, because of the undulating shape, too thick transparent glazes in curved areas tend to form air bubbles.
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High temperatures may also cause the glaze to disappear in thin areas.
Glazed with Air Brush - 2
I carried out three different sets of experiments on the last failed glazing case.
I placed the specimens in
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High-temperature without transparent
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Low-temperature kiln without transparent glaze
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Low-temperature with a thin transparent glaze
Test Result
The reverse colour of the test piece without the transparent glaze does not change much and the gradient edge effect can be retained. The high temperature test piece is more vividly coloured than the low temperature test piece. The colour of the low temperature specimen with a thin transparent glaze is more vivid and the gradient does not disappear.
Glazed with Different Methods
I experimented with different colouring methods and glazes to express the theme.
Test Result
Underglazes still need a clear glaze after colouring for best results. Metallic glazes have an unstable effect when fired and should not be used subsequently.