| The piece being cooked, the final phase, that of enamelling, can now begin. |
A classic enamel, gloss type, does not represent any interest for a sculpture.
The logical choice would be that of a matt enamel, metallic in appearance and rather rough,
closer to the texture of the original work. Starting from powder glazes is prepared a mixture
based bronze/gold and matt black, in which one incorporates a tranparent glaze of synthesis which will play the part of binder.
To this preparation is added approximately 10% of
wollastonitewollastonite : metasillicate of lime, |
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| A glaze yellow gold, also very fluid, is then prepared to glaze the interior of the ears, arch of the eyebrow and ribbons. The operation is delicate, because of smudges glaze on another glaze are difficult to rectify, but it is essential that the layers are very thin, because the enamel must keep a purely decorative aspect here. Three layers are passed. |
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| A very fluid mix of colors based Sierra yellow, yellow lemon-yellow, maroon and white is prepared, substantially lighter than that used previously. The color is passed on the yellow gold glaze. The installation of this additional color on the raw glaze is not without reason. It will attenuate the brightness of the enamel and will cause an effect of irisation pointing out a little that of lustres. Two extremely thin layers passed. |
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| The eyes are covered with a transparent colorless glaze. As previously, the glaze is covered with color in very fine layers. |
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| Finally, the relief of the claws is accentuated by a mixture of glaze-based matt black, bronze/gold and a little colorless glaze mixed with gray and blue pigments. The whole is then covered with color silver plated blue. |
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The piece is returned. The base is sandpapered and then cleaned with a damp sponge to remove any smudges caused by enameling.
It then passed to black engobe. |
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| Finally, the piece is carefully examined, the insufficiencies
of glaze and smudges are all corrected. The piece is set to dry for 24 hours before the second passage in kiln, cooking a eight hours with progressive rise in temperature until 1020° and final soak of fifteen minutes. |
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At the exit of the kiln, the work is inspected. The result is rather satisfactory. But the beauty of the work can be further improved
and it would be a shame to miss this opportunity. |
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The overglazing of a sculpture (or any other piece) is a delicate operation and not without risk,
which requires a certain skill. But it lets you get enamels of incomparable beauty.
The result is random and not repeatable: one can really speak about single work. |
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| The yellow gold enamel is in its turn covered with a new layer of
raw glaze, then of gold color. In fact, one starts again the same process exactly as that previously described. The claws are remade. |
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| When the piece is dry, it is entirely covered with a layer of transparent colorless matte glaze. |
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| Lastly, to finish, the gold color is passed by again a second time
on the interior of the ears, arch of the eyebrow and ribbons. The eyes are also repainted. The base is cleaned and passed by again with the black engobe. The piece is ready for a third passage in kiln, cooking a eight hours with progressive rise until 1000° and final soak of 15 minutes. |
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| Upon exiting the kiln, the piece is again considered with attention.
The result this time is quite satisfactory. Anubis is finished! |
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