The pigments used in ceramic calligraphy are mainly underglaze blue and white, and some underglaze colors can also be used. Extra black is often used on the glaze, and some are written in new colors. This pile of books is mainly glass white. If you want to pile up colored characters, you must add other pigments to the glass white, such as new colors or pastels. Its collocation ratio is strictly required and must be determined through repeated experiments. Some of them don't deserve it.
Blenders include olibanum oil, camphor oil, kerosene, etc. Diluent of peach gum or ox gum is also used to fold books, and the filtrate of garlic soaked in wine can also be used. When blending, the concentration should be moderate and easy to write; Pigments should be evenly distributed, and the burned words should be smooth and round.
As for the seasoning, the fine print is colored with oil, and the modulation concentration is the same as the glaze color; If you write larger words, you need to add camphor oil; To write large words or piles of books, use diluted glue as seasoning, and the concentration should not be too high.
Like ceramic painting tools, the tools for making ceramic calligraphy are nothing more than pens, brushes, carving knives, scrapers, palette knives, saucers, bowls, hammers, alloy steel chisels and small hammers. Some tools can be temporarily self-made or customized to manufacturers as needed.
Like ceramic painting, ceramic calligraphy is an important part of ceramic decoration, and its creative procedure is generally: porcelain selection (blank selection)-design-drawing-production-firing.
1, porcelain selection, refers to the selection of fired monochrome porcelain plates or three-dimensional models for overglaze color production. Porcelain plates should be smooth, not bent, not warped, pure and uniform in color and colorless. Shaping requires good firing condition, and the shape and color are favorable for processing. Also consider its aesthetics and originality. Sometimes we should consider its practicality. However, for underglaze color processing, only different types of porcelain blanks can be selected.
2. Design is planning. Before the formal creation of the work, methods, drawings, etc. It is formulated in advance according to the characteristics of the equipment and the requirements of personal purposes. The purpose of design is to achieve the best decorative effect through artificial beautification. The design of a work is a comprehensive reflection of a person's cultural accomplishment, aesthetic taste, ideological realm, calligraphy skills and technology. The quality of design is directly related to the success or failure of the work. The following points must be considered when designing:
(1) Select the writing content (poem, word, article, sentence, couplet, auspicious words, etc.). ) according to the type of device, strive for the perfect unity of form and content;
(2) Plan the writing part, choose the pattern style or geometric figure, and determine how many lines to write according to the number of words in the poem, the position of the inscription and seal, the arrangement of the topic, whether to write directly, horizontally or circularly, and how to deal with special problems (such as the width on the sector, the width on the outside of the circle, the size on the inside, etc.). );
(3) What font to use, (choose any font or a combination of several fonts from Zhen, Xing, Cao, Li and Zhuan);
(4) production method (writing, engraving, kneading, picking, overlapping or comprehensive application);
(5) Selecting coloring materials (background color, font color and edge color);
(6) firing by stages.
3, drawing, in order to show the designed style on monochrome porcelain, you have to check the porcelain for actual operation. Some need to draw geometric figures first, or make a background color first, and then make a grid after firing.
4, production, production methods are many, mainly the following:
(1) pen writing. Whether it is underglaze or overglaze, writing with a brush is the most basic method. Single-material pen is suitable for writing small characters, double-material pen is suitable for writing large characters, and larger characters are written with a larger brush.
(2) Knife engraving. Under the glaze is the blank engraving, which can be divided into negative engraving and positive engraving. Negative engraving is to concave the strokes of the characters; Male engraving is to protrude the strokes of a word like relief. Over-glaze porcelain carving is a kind of calligraphy work carefully carved on the glaze of porcelain with hard and sharp alloy steel. Generally, there are many concave carvings, and then they are dyed and fired with ceramic painting pigments after carving.
(3) choose words. Spray colored glaze on the blank surface or porcelain surface, then dip it in ink with a brush, and then remove the strokes of the characters. This is called removing the characters from the ground. White characters are exposed after firing, similar to intaglio; Some people remove the background color and leave words, which is called leaving words in the ground, similar to engraving.
(4) pinch and paste. Under-glaze paste is to create calligraphy works first, then pinch the characters one by one with fine ceramic mud mixed with water according to the characteristics of each glyph in the calligraphy works, dry them slightly, paste them on the ceramic blank with colored glaze according to the different positions of the characters in the works, and then fire them in a kiln at high temperature. The pasting method of overglaze color is basically the same as that of underglaze color, except that the firing temperature is low and the raw material used is low-temperature glaze.
(5) folding books. It is developed from the stacking technique, and is written directly on the porcelain blank or monochrome porcelain with a brush dipped in pigment. However, ceramic pigments are different from ink and watercolor pigments, and it is difficult to write them successfully at one time. It is necessary to scribble repeatedly to make the strokes of characters accumulate. Stack books under the glaze, and when they are piled to the required thickness, they can be fired at once. However, it has been rare to fold books on glaze. I have been exploring for several years and failed many times. I have mastered several pigments with relatively stable performance for folding books. For the sake of prudence, it is generally burned once and then burned again, so that the layers are thickened until they are satisfied, but there are risks. When folding books, the author's calligraphy skill and ceramic craft level are very high. Once successful, it not only retains the charm of calligraphy, but also has excellent three-dimensional effect.
(6) There are other processes such as applique, computer production and pouring. But they are purely technical, so they are not redundant.