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Mishima: Incised Through Wax Resist Or Scraped?


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I was looking through many Mishima techniques and have noticed 2 camps.  

 

The first camp incises a leather hard piece, paints the lines with underglaze, allows the piece to dry, then scrapes off the excess undergalze. 

 

The second camp applies wax resist to the heather hard piece, then incises through the wax, followed by painting the lines with undergaze, then wipes off the excess.

 

Is one  the original technique while the other an adaptation?

Are there other ways to do this technique? If so, What are they?

 

Jed

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Guest JBaymore

Original technique ..... incise the leatherhard clay.  Fill in the whole general area with clay slip (not underglaze).  Let stiffen.  CUT off (not "scrape) the surface slip leaving the colored clay inlaid in the carving.

 

I say CUT because the real success of this technique lies in not blurring the inlay.  Scraping (dull tools) blurs it.  Use a very sharp tool to "scrape" the surface. 

 

best,

 

......................john

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John stressed it enough, but I will reiterate that the secret to a really successful mishima lies in a scrape that cuts-using a very sharp razer like tool. A fresh straight edge will work, stoning a fine metal rib to sharpen the edge will also work. Be careful of your hands when you sharpen any tool that is normally not so sharp.

 

 

best,

Pres

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Guest JBaymore

I sometimes do the Jomon zogan technique.  (Rope impression slip inlay)  When visiting with him on a few occasions, I was fortunate to have the opportunity to have Shimaoka Tatsuzo-sensei show me a few of his techniques (that little Jomon zogan trick is his invention.........melding the Jomon rope impressions with Korean Mishima).

 

The SHARP part of the tools was one of the "key" points he shared.

 

I use the Japanese trimming tools known as 'kanna".  Good tool steel bent in an L shape.  And kept very sharp all the time.  Sharpened for every work session.

 

Of course if you WANT the blurring to exploit that particular characteristic aesthetically...... use a typical American loop tool like the Kemper stuff and hold the angle so that it is a scrape more than a cut.  Also remove the slip layer when it is a tad wetter.

 

 

best,

 

...................john

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It's not the proper way, but I've had good luck with filling in the line the traditional way and then letting it go bone dry. I then use steel wool to clean back the excess slip. Usual health and safety warning apply.... Also not great if you then want add more lines of other colors etc. Hard to get decent line quality on bone dry ware.

 

Cheers,

Pat

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The wax resist version is really good for fine, incised lines. The first two images are from the Instagram feeds of Katy Djriber and the third is from Carole Epp's (Musing about Mud blogger). Both say you need a wax that is soy based, so it doesn't shatter and make a ragged line. Carole uses a sewing needle in a mechanical pencil as a drawing tool.

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post-63667-0-59532700-1453665609_thumb.png

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If I'm not mistaken, CAD has an article about a ceramist who incises, bisques, and then inlays.  I couldn't find the article earlier, but I'm 99.9% positive it exists and that it's something from this site.

 

Rings a bell. The one I remember is:

http://ceramicartsdaily.org/pottery-making-techniques/ceramic-decorating-techniques/laying-it-on-thick-decorating-with-slip-inlay-on-bisqueware/

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This is how I do my wildflowers and poppies. I tried four different very time consuming ways (so. many. blades of grass.) before I hit on carving through wax resist. I had read it on Big Ceramic Store's site a long time ago and it came floating back out of my subconscious when I needed it. I just do the fine lines like grass, stems, leaves in the underglaze before bisque firing. Very nice crisp lines and saves huge amounts of time. 

 

I throw, trim/handle, wax, and then the next day I carve. If you're using underglaze then you can apply the underglaze any time up to firing. If you're using slip then I would do it sooner or you might have issues with the slip shrinking and flaking off. I haven't tried this technique with slip but I think it would work really nicely! 

 

 sml_gallery_67168_947_1553642.jpg       sml_gallery_67168_947_983265.jpg

 

P.S. The wax resist technique I'm using: Would it be called slip inlay (when used with slip obviously), underglaze inlay, sgraffito, mishima, or a combination of the terms? I've been wondering. 

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Confusion alert?

 

>Carole uses a sewing needle in a mechanical pencil as a drawing tool.

>>It looks as if the needle is put in the pencil so the eye is doing the drawing, not the point. Is that correct?

 

Sewing machine needles usually have the point and the eye at the same end. The thick end (the shank) is

clamped by the sewing machine's needle holder.

https://en.wikipedia.org/wiki/Sewing_machine_needle

Hand sewing needles have the point on one end and the hole on the other. Sewing machine needles are like you said hole and point on same end.

 

T

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Hand sewing needles have the point on one end and the hole on the other. Sewing machine needles are like you said hole and point on same end.

 

Oops, my gaffe I misread it as sewing machine needle. I can only imagine -- but not excuse --

this happening because I'm only used to non sewing needles being qualified: knitting, upholstery,

sewing-machine, ....

 

Original post deleted.

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The wax resist version is really good for fine, incised lines. The first two images are from the Instagram feeds of Katy Djriber and the third is from Carole Epp's (Musing about Mud blogger). Both say you need a wax that is soy based, so it doesn't shatter and make a ragged line. Carole uses a sewing needle in a mechanical pencil as a drawing tool.

 

Oh. My. Word. 

 

I love everything Katy Djriber makes.

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Shape, colors, design, even her choice of clay. This may sound weird but when I look at her work, first I feel completely delighted, then .... maybe I should just give up.

 

I've learned to recognize this near-despair as the feeling I get when I find someone whose work "sings" for me. The best way to get over it is to go and make something and remember why I'm doing this again.

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