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The wax will "resist" the dye, and after it is removed there will be a pattern in two colours. Batik, shibori and tie-dye are among many styles of resist dyeing. [3] [4] Wax or grease can also be used as a resist in pottery, to keep some areas free from a ceramic glaze; the wax burns away when the piece is fired. [5]
The most common forms use wax, some type of paste made from starch or mud, [1] or a mechanical resist that manipulates the cloth such as tying or stitching. Another form of resist involves using a dye containing a chemical agent that will repel another type of dye printed over the top. The best-known varieties today include tie-dye, batik, and ...
The glazed surface, usually a narrow border, is transfer printed with a wax-like resist, after which the glaze is etched with dilute hydrofluoric acid prior to application of the gold, after which the design's raised elements are selectively burnished to give a bright and matte surface; the process demands great skill and is used for the ...
These variables—which include wax resist, glazes, slips, temperature, and timing [16] —ultimately determine the outcome when firing a piece of clay. Wax resist, which is painted over the bare clay, is a suspension of wax in water; [ 17 ] the glaze does not cover the area where the wax resist was applied, thus creating a design.
The wax resist-dyeing technique has been used for centuries in Java, where certain motifs had symbolic meaning and prescribed use, indicating a person's level in society. [57] It is an essential component in the attires of Javanese royal palaces, [ 58 ] [ 59 ] worn by monarchs, nobilities, abdi (palace staff), guards, and dancers .
"Wax over shellac" (an application of buffed-on paste wax over several coats of shellac) is often regarded as a beautiful, if fragile, finish for hardwood floors. Luthiers still use shellac to French polish fine acoustic stringed instruments, but it has been replaced by synthetic plastic lacquers and varnishes in many workshops, especially high ...
A parting and contraction of the glaze on the surface of ceramic ware during drying or firing, resulting in unglazed areas bordered by coalesced glaze. May be caused by uneven glazing, excessive glaze thickness or a greasy substrate. [8] Crazing A glaze fault characterised by the cracking of fired glazes and due to high tensile stresses.
Jizhou ware was known for a "tortoiseshell glaze" (玳瑁釉 dàimàoyòu), [5] [6] alone or in combination with other types of decoration. [7]The leaf and paper cut-outs were left in place, and burnt away in the kiln during firing.