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#1
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Photoceramic processess
Hi there !
I'm looking for knowledge sources on photoceremic processess. Unfortunately I can't find it in my library, because ... I'm living in Poland and theres no any good position. Does anybody know where Can I find this knowledge ? |
#2
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Photoceramic processess
Try here...
http://www.personaltouchdepot.com/Ho...hoto-Mugs.html denny "Biesior" wrote in message ... Hi there ! I'm looking for knowledge sources on photoceremic processess. Unfortunately I can't find it in my library, because ... I'm living in Poland and theres no any good position. Does anybody know where Can I find this knowledge ? |
#3
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Photoceramic processess
Użytkownik "Dennis O'Connor" napisał w wiadomości ... Try here... http://www.personaltouchdepot.com/Ho...hoto-Mugs.html Thank You , it looks quite easy (of course I'll try this), however I'm looking for traditional ways too . You know - the same method that was used one century ago. Probably now this is more important to me this get it in ancient way than just do it on mug Thanks once again and I'll keep walking (Johny W. |
#4
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Photoceramic processess
"Biesior" wrote in message ... Użytkownik "Dennis O'Connor" napisał w wiadomości ... Try here... http://www.personaltouchdepot.com/Ho...hoto-Mugs.html Thank You , it looks quite easy (of course I'll try this), however I'm looking for traditional ways too . You know - the same method that was used one century ago. Probably now this is more important to me this get it in ancient way than just do it on mug Add me to the list. FWIW, I have two cases of ancient, coated white ceramic plates. The emulsion is so thick you can almost peel it under a fingernail. They were contact-printed, then embedded in tombstones. |
#5
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Photoceramic processess
Well, a century ago, slip was hand painted onto the ceramic object and then
fired... Lots of web sites devoted to the ancient art of firing of ceramics.. denny "Biesior" wrote in message however I'm looking for traditional ways too . You know - the same method that was used one century ago. Probably now this is more important to me this get it in ancient way than just do it on mug Thanks once again and I'll keep walking (Johny W. |
#6
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Photoceramic processess
Well, a century ago, slip was hand painted onto the ceramic object and
then fired... Lots of web sites devoted to the ancient art of firing of ceramics.. denny However I;m looking for photographic process nevermind, I'm closer than I was few hours ago. |
#7
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Photoceramic processess
On Mon, 2 Feb 2004 16:36:10 +0100, "Biesior" wrote:
Hi there ! I'm looking for knowledge sources on photoceremic processess. Unfortunately I can't find it in my library, because ... I'm living in Poland and theres no any good position. Does anybody know where Can I find this knowledge ? Just coat a glass plate emulsion onto the ceramic and then cover with a lacquer. From my site : Encyclopedia of Photography A New York Times Company Arno Press, 1974 Entry: Emulsions for Development, Negative Emulsions, Pgs. 216-217 The manufacture of negative emulsions is by no means such an easy matter as positive emulsion making, but with care slow emulsions of very satisfactory quality can be produced. The beginner is not advised to attempt very rapid emulsions, as they are extremely difficult. There are two principal methods for negative emulsion making - the acid or boiling process and the ammonia method. The former will give, as a rule, the cleaner plate, but it is not possible to obtain so high a speed. With care equally clean plates may be obtained by the ammonia method and greater speed. The acid process wil be treated first. Slow emulsion Pot. Bromide 75g Pot. Iodide 2.75g Nelson's #1 Gelatin 33g Hydrochloric acid 1cc Distilled water 550cc Heat to 120F (nearly 49C) and add slowly with constant stirring - Silver nitrate 100g Distilled water 550cc also heated to 120F. Digest in the waterbath at boiling point for half an hour and then add - Hard gelatine 125g which should have been well washed in water, soaked for a half an hour and drained for half an hour. Cool the emulsion, and set. This should give an emulsion of about 25 H&D. An emulsion of about double the rappidity and giving somewhat greater contrast can be obtained by cooling the above emulsion to 95F (35C) and adding - Liquor ammoniae 7.5cc Distilled water 50cc and stirring well for about 15 minutes, the setting and allow to stand for 24 hours. Rapid Emulsion Pot. Bromide 125g Pot. Iodide 2.5g Hard gelatine 50g Distilled water 500cc Heat to 140F (60C) and add in a fine stream with constant stirring - Silver nitrate 100g Distilled water 350cc also heated to 140F. Digest in a water bath at boiling point for 45 min. and then add - Hard gelatine 50g Distilled water 400cc The gelatine should be well washed in two or three changes of water, drained, and then dissolved in distilled water at 110F (43.3C). This should give plate of from 150 to 180 H&D, which are rather soft working but clean. Greater contrast can be obtained by adding ammonia as suggested for the slow emulsions. Slow Ammonia Emulsion Amm bromide 85g Pot. Iodide 3g Hard gelatine 145g Distilled water 1L Heat to 110F (43.3C) and add with constant stirring - Silver nitrate 100g Liquor ammoniae(*880) q.s. (*note*, Latin, quantum sufficit) Distilled water 300cc at a temperature of about 70F (21C). The silver should be thoroughly dissolved and enough ammonia added to redissolve the precipitate first formed. The exact quantity will, of course, depend upon the strenght of the ammonia, but 65-70cc can be added at first, and then further additions made very cautiously, stirring well, till quite a clear solution is formed. the termperature rises to about 90F so that it is advisable to cool this silver solution down by standing the vessel in cold water for a short time. As soon as the emulsion is mixed, the vessel should be placed in cold water, running water for preference, and the emulsion well stirred till quite thick and then put away in cold water to set. If allowed to stand for about sixteen hours before washing, this should give a clean working plate of about 30 to 50 H&D., which will give great contrasts and wide latitude of exposure. Medium Rapidity Amm. bromide 90g Pot. iodide 2.5g Soft gelatine 50g Hard gelatine 50g Distilled water 1L Heat to 120F (nearly 49C) and add with constant stirring- Silver nitrate 100g Liquor ammoniae q.s. Distilled water 300cc at a temperature of 80F (nearly 27C). This solution should be made as before described When mixed, the emulsion should be digested in a water bath at a temperature of 120F for half an hour, and then - Hard gelatine 50g which has been wel washed but not soaked, added. Cool down gradually and allow to stand for 16 hours before washing. This should give plates of from 100 to 120 H&D. Rapid Ammonium Emulsion Amm. bromide 120g Pot. Iodide 2.5g Soft gelatin 50g Hard gelatin 25g Alcohol 100cc Distilled water 900cc Heat to 130F (54.4C), and add - Silver nitrate 100g Distilled water 300cc Liquor ammoniae q.s. at a temperature of 75F (nearly 24C). Digest in water bath at 120F (nearly 49C) for 1 hour and then add- Hard gelatine (well washed ONLY!) 75g Cool the emulsion and pour out into flat dishes;allow t stand for 20 hours. This should give plates of from 200-225 H&D. There are many little dodges which can be learned only by experience and experiment, but the following hints may not be useless. in making acid emulsions it is advisable to always run the silver into the bromised gelatin in a fine stream with continuous stirring. In the case of ammonia emulsions, it is not so important to add the silver in a fine stream, but vigorous stirring should be continued all of the time. If regularity of results is required it is important that the water bath should always be kept at a constant temperature, and further that the emulsion should be stirred about every 5 minutes, otherwise the silver bromide may settle to the bottom of the vessel and give coarsley grain, thin working plates that are absolutely useless period. It will be noted that distilled water is advised in all the formula given in this article, this is important as to often ordinary tap water is contaminated with iron and other impurities which lead to fog or loss of sensitiveness. It is advisable to even use distilled wate for even washing your gelatine. Greater rapidity can always be obtained by reducing the quantitiy of gelatine during the mixing but there is great danger of the formation of coase grain and fog. If the gelatine is much reduced it is always advisable to add about 10% of the total bulk of alcohol, which not only prevents this but also obviates the occurance of dichroic fog with the ammonia method. Directions have always been given for setting and washing emulsions. When the emulsion has been washed enough it should be removed from the water and left to drain for about an hour, so as to free it from the adherent water as much as possible. In fact, it is as well to use a clean dry linen cloth and after the emulsion has drained, place it in this and, collecting the whole into the form of a bag, squeeze throughly. The emulsion is then ready for melting and coating. A test plate should always be coated first. Melt the emulsion ina water bath at 120F (nearly 49C), then take out a little and cool down to 95F (35C), coat a plate and put away to dry. The bulk of the emulsion can be rapidly cooled down again, and when set, alcohol containing 0.1% of carbolic acid poured over the top to a depth of about 1/2 inch, the emulsion then being put away in a dark cool place. If it is to be used soon the alcohol may be omitted but this will keep a stock of emulsion in good condition for a week or so. == And no, I haven't tried it yet ! Regards, John S. Douglas, Photographer - http://www.darkroompro.com Please remove the "_" when replying via email |
#8
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Photoceramic processess
Uzytkownik "John" napisal w wiadomosci ... Just coat a glass plate emulsion onto the ceramic and then cover with a lacquer. From my site : {recipe below} And no, I haven't tried it yet ! Regards, John S. Douglas, Photographer - http://www.darkroompro.com Thank You Now i'm collecting processess list and at last I'll choose few to test. Generally I'm looking for proccess that won't fail in high temperatures (~ 800 C) because I want to fuse some parts of printed glass. However when I started my researches I "fall in" this subject so now I'm interested in another methods as well. Probably I'll try more than i thought I will Thanks once again regards Biesior [Poland] |
#9
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Photoceramic processess
Well, what it sounds like you are after is the commercial process of using a
photographic image, half toned, projected onto sensitized silkscreen, and then developed... The ceramic slip is then silkscreened onto the object, allowed to dry, and then fired... Being that this is commercial in nature you are not going to find a large amount of free information in the public venue... Try contacting the commercial manufacturers of dinnerware, plates, cups, etc... actually, the commercial process at production speeds is by offset transfer of the image, but that is details not a real difference ciao ... denny "Biesior" wrote in message ... Well, a century ago, slip was hand painted onto the ceramic object and then fired... Lots of web sites devoted to the ancient art of firing of ceramics.. denny However I;m looking for photographic process nevermind, I'm closer than I was few hours ago. |
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