Can Egyptian Paste Techniques (Faience) Be Used For 3D Printed, Solid Free-form Fabrication of Ceramics?

埃及粘贴技术 (Faience) 能否用于 3D 打印、固体自由形状陶瓷制造？

• 批准号: AH/J006025/1
• 负责人: Stephen Hoskins
• 金额: $ 41.03万
• 依托单位: University of the West of England
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2012
• 资助国家: 英国
• 起止时间: 2012 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FJ006025%2F1
• 关键词: Egyptian; Paste; Techniques; Faience; Used

Current research in the field of 3D printing concentrates on creating functional materials. This research project will develop a process based upon historic Egyptian Faience techniques, which will enable ceramic artists, designers and craftspeople to print 3D objects in a material which they are familiar with and can be glazed and vitrified in one firing. Faience was the first glazed ceramic material invented by man. Originating in the 5th Millennium BC, Egyptian Faience was not made from clay (but instead composed of quartz and alkali fluxes) and is distinct from Italian Faience or Majolica, which is a tin, glazed earthenware. (The earliest Faience is invariably blue or green, exhibiting the full range of shades between them, and the colouring material was usually copper). The researchers believe that it possible to create a contemporary 3D printable, self-glazing, non-plastic ceramic material that exhibits the characteristics and quality of Egyptian Faience. It is the self-glazing properties that are of interest for this research. In the 1960's Wulff in 'Egyptian Faience a possible survival in Iran' postulated that the technique he observed in Qom, described as cementation glazing, could have been a method used by the Egyptians from 4,000 BC. In order to glaze the unfired object, it is buried in a glazing powder, in a sagger (a protective vessel of fireclay to support and protect delicate objects) then fired. During firing, a glaze is formed directly by chemical reaction on the surface of the body but the glaze mass as a whole does not melt. Modern techniques employ 3D printing to form physical models by a variety of methods from a virtual digital file. An additive layer manufacturing process is employed to deposit a variety of materials: commonly UV polymer resins, hot melted 'abs' plastic and inkjet binder or laser sintered, powder materials. These techniques have previously been known as rapid prototyping (RP). With the advent of better materials and equipment some RP of real materials is now possible. These processes are increasingly being referred to as solid 'free-form fabrication' (SFF) or additive layer manufacture. This research will interrogate three primary methods of glazing used by the Egyptians. Application glazing: similar to modern glazing techniques where glaze slurry is applied to a body by brushing or dipping. Efflorescent glazing: where the glazing materials in the form of water soluble salts are mixed with the body. As the body dries, the salts migrate to the surface forming a layer, which fuses to a glaze when fired. The third method is cementation glazing. We will use these techniques as a basis for developing contemporary alternatives and will try and replicate the chemistry of some of the original recipes, however the use of modern materials will give more consistent and reproducible results. The research team will observe, record and evaluate a group of art/design/craft practitioners who will be selected as case studies and co-contributors to the project. They will test and help define the parameters of the process working iteratively with the research team, culminating in new creative work for exhibition. In Egypt, from the New Kingdom onward, the colour palette of Egyptian Faience was extended and a new 4th method of manufacture was developed. The related PhD student will concentrate upon this 4th method of Egyptian Faience more like a glass, where the body is entirely homogeneous without a separate coating of glaze. The surface was generally but not always glossy. The glassy phase results from the addition of coloured frit to the Faience mixture. (Frit, a mixture of glass ingredients that have been incompletely reacted together, is a material in its own right and can be used as a pigment or for making objects). The applicants believe that the addition of coloured frit may enable an Egyptian Faience like material suitable for 3D printing with a greatly increased colour palette.

目前3D打印领域的研究集中在创建功能材料上。该研究项目将开发一种基于历史悠久的埃及Faience技术的工艺，使陶瓷艺术家，设计师和工匠能够用他们熟悉的材料打印3D物体，并且可以在一次烧制中上釉和玻璃化。彩釉是人类发明的第一种上釉的陶瓷材料。起源于公元前5000年，埃及彩釉不是由粘土制成的（而是由石英和碱性熔剂组成），与意大利彩釉或马约利卡不同，后者是一种锡釉陶器。(The最早的仙女总是蓝色或绿色，展示了他们之间的全部色调范围，着色材料通常是铜）。研究人员认为，有可能创造出一种当代3D打印、自上釉、非塑料陶瓷材料，展示出埃及Faience的特征和质量。这是本研究感兴趣的自上釉性能。在20世纪60年代，伍尔夫在《埃及的信仰在伊朗可能存在》一书中假设，他在库姆观察到的技术，被描述为胶结上釉，可能是公元前4,000年埃及人使用的一种方法。为了给未烧制的物体上釉，它被埋在上釉粉末中，然后在烧箱（一种保护性的耐火粘土容器，用于支撑和保护精致的物体）中烧制。在烧制过程中，釉是通过在坯体表面上的化学反应直接形成的，但釉块作为一个整体并不熔化。现代技术采用3D打印，通过各种方法从虚拟数字文件中形成物理模型。采用增材层制造工艺来存款各种材料：通常是UV聚合物树脂、热熔“ABS”塑料和喷墨粘合剂或激光烧结的粉末材料。这些技术以前被称为快速原型（RP）。随着更好的材料和设备的出现，一些真实的材料的RP现在是可能的。这些工艺越来越多地被称为固体“自由成形制造”（SFF）或增材层制造。这项研究将询问埃及人使用的三种主要上釉方法。施釉：类似于现代施釉技术，其中釉浆通过刷涂或浸渍施于主体。泛光上光：其中上光材料以水溶性盐的形式与主体混合。当坯体干燥时，盐迁移到表面形成一层，在烧制时熔化成釉。第三种方法是胶合上釉。我们将使用这些技术作为开发当代替代品的基础，并将尝试复制一些原始配方的化学成分，然而，使用现代材料将提供更一致和可重复的结果。研究团队将观察、记录和评估一组艺术/设计/工艺从业者，他们将被选为该项目的案例研究和共同贡献者。他们将测试并帮助定义与研究团队迭代工作的过程参数，最终产生新的创意作品。在埃及，从新王国开始，埃及彩釉的调色板得到了扩展，并开发了一种新的第四种制造方法。相关的博士生将专注于埃及彩釉的第四种方法，更像一个玻璃，其中身体是完全均匀的，没有单独的釉料涂层。表面通常但不总是光滑的。玻璃相是向彩釉混合物中加入有色玻璃料而形成的。(Frit是玻璃成分未完全反应在一起的混合物，本身就是一种材料，可用作颜料或用于制造物体）。申请人认为，添加有色玻璃料可以使埃及彩釉类材料适合于具有大大增加的调色板的3D打印。

项目成果

3D Printing for the Visual Arts An Overview of Current Practice and its Historical Context

视觉艺术 3D 打印当前实践及其历史背景概述

• 发表时间: 2014
• 作者: Hoskins S

3D Printing for Artists, Designers and Makers

面向艺术家、设计师和创客的 3D 打印

• 发表时间: 2013
• 作者: Hoskins S

3D Printed Ceramics for Tableware, Artists/Designers and Specialist Applications

适用于餐具、艺术家/设计师和专业应用的 3D 打印陶瓷

• DOI: 10.4028/www.scientific.net/kem.608.351
• 发表时间: 2014
• 期刊: Key Engineering Materials
• 作者: Huson D

3D Printed Self-Glazing Ceramics: Process and Materials Development

3D 打印自釉陶瓷：工艺和材料开发

• 发表时间: 2015
• 作者: Huson D

Computational Colour, the Visual Artist and the Printed Artefact

计算色彩、视觉艺术家和印刷制品

• 发表时间: 2012
• 期刊: Journal of the International Colour Association
• 作者: Hoskins S