JPS612591A - Production of painted ceramic board - Google Patents

Abstract

PURPOSE:To enable to easily produce a painted ceramic board having excellent three-dimensional feeling with high productivity, by a method wherein a thickly built-up printing image part or a raised pattern is printed in a ceramic ink by a 45-80 mesh silk screen, followed by firing at a temperature of not higher than 1,300 deg.C. CONSTITUTION:After drawing one or more desins, the thickly built-up printing image part or the raised pattern is formed by printing. In this case, a coarse screen of about 45-80 mesh is used, and printing in a ceramic ink or the like is conducted through the screen by moving a squeegee in a fixed direction, followed by drying. By repeating printing and drying an appropriate number of times, a thickly built-up raised pattern is formed. After sufficient drying, temperature may be raised to about 200 deg.C in a relatively short time, after which the temperature is raised slowly to about 600 deg.C, since combustion or decomposition or organic matter in the blank material starts about the time when the temperature exceeds 200 deg.C. The temperature of about 600 deg.C is maintained for 10-30min to complete decarburization, and thereafter the temperature is raised at a rate of not higher than 150 deg.C/hr to, for example, 1,200-1,300 deg.C.

Description

【発明の詳細な説明】 （１）　　産業上の利用分野 この発明は装飾効果および生産性の向上を目的とする陶
板画の製造方法に関するものである。DETAILED DESCRIPTION OF THE INVENTION (1) Field of Industrial Application This invention relates to a method for producing ceramic board paintings for the purpose of improving decorative effects and productivity.

（２）従来の技術 古来、陶磁器、はうろう等のセラミック基質の表面に絵
具や色彩用釉薬類を毛筆や刷毛等で塗るか、または転写
するかした後焼成し、多彩な図柄を付けて装飾的効果を
高める方法は広く採用されている。また、色彩のみなら
ず図柄に凹凸を与え、立体感を伴う装飾的効果の向上の
ために、基材の成形時（たとえば素焼前またはほうろう
引き前）に彫刻、切削、注型もしくはプレス等の方法が
用いられて来たこともよく知られている。さらに、近時
、繊維素パルプに、焼成すれば陶磁器になるセラミック
原料の微粉末が５０〜９５重量％になるよう定着させた
厚み約０．１５〜１．０ｍｍ程度の比較的薄い素材が開
発され、この素材の着色は言うに及ばず、エンボス加工
または貼り合わせ等による凹凸の形成方法も次第に広く
利用されるようになって来た。(2) Conventional technology Since ancient times, paints and colored glazes have been applied or transferred onto the surface of ceramic substrates such as ceramics and porcelain with a brush or brush, and then fired to create various designs. Methods of enhancing decorative effects are widely adopted. In addition, in order to give not only color but also unevenness to the design and improve the decorative effect with a three-dimensional effect, engraving, cutting, casting, pressing, etc. are used when forming the base material (for example, before unglazing or enameling). It is also well known that methods have been used. Furthermore, a relatively thin material with a thickness of about 0.15 to 1.0 mm has recently been developed, which is made by fixing 50 to 95% by weight of fine powder of ceramic raw material, which becomes ceramic when fired, into cellulose pulp. Not only the coloring of this material but also methods of forming irregularities by embossing or bonding have gradually become widely used.

（３）発明が解決しようとする間頓点 しかし、前記したような従来の技術はいずれも平面的な
図柄のみでは単調であり、また凹凸を付けてさらに色彩
を付けるには手間がかかり生産性は決して良くない。し
たがって、この発明は色彩感とともに立体感の優れた陶
板画を生産性良く製作することをその技術的課頓とする
ものである。(3) Problems that the invention aims to solve However, in all of the above-mentioned conventional techniques, only flat designs are monotonous, and it takes time and effort to add color by adding unevenness, which reduces productivity. is never good. Therefore, the technical task of this invention is to produce ceramic board paintings with excellent color and three-dimensionality with good productivity.

（４）　　問題を解決するための手段 上記問題点を解決するために、この発明はセラミック質
からなる基材面に、１種もしくは２種以上の陶芸用絵具
、色彩用釉薬もしくは土インキによる下絵を描き、さら
に土インキによる厚盛りの画線部または浮上り模様を４
５〜８０メツシュのシルクスクリーン（粗目スクリーン
）を用いて描いた後、１３００°ｃ１２を下で焼成する
ことを特徴とする陶板画の製造方法を提供するものであ
り、以下その詳細を述べる。(4) Means for Solving the Problems In order to solve the above-mentioned problems, the present invention applies an underpainting using one or more types of pottery paints, colored glazes, or clay inks to the surface of a base material made of ceramic material. , and then add 4 thick lines or raised patterns using soil ink.
The present invention provides a method for producing a ceramic board painting, which is characterized in that it is drawn using a silk screen (coarse screen) of 5 to 80 meshes and then fired at 1300° C12, and the details thereof will be described below.

まず、この発明の下地塗りを施した基材とは、陶磁器、
はうろう、または、焼成すれば陶磁器になるセラミック
原料の微粉末を定着させた繊維素パルプ抄造品等のいず
れであってもよい。このような基材表面に所望する色を
付けたいときは、たとえば下絵用絵具（釉薬）類を微粉
（２５０〜３００メツシュ程度）にし、これを水性オイ
ルもしくは油性オイルで練って、１５０〜２２５メツシ
ュ程度のシルクスクリーン（細目スクリーン）を用いて
塗れば、筆や刷毛を使って塗布したときのような刷毛目
（筋）が現われることなく均一なものが得られる。なお
、重ね塗りを行なっても支障が起こらない程度にまで基
材を乾燥しておくことは言うまでもない。First, the base material coated with the base coat of this invention is ceramic,
It may be either a wax or a cellulose pulp paper product on which fine powder of a ceramic raw material is fixed, which becomes ceramic when fired. When you want to add a desired color to the surface of such a base material, for example, you can grind the underpainting paint (glaze) into a fine powder (approximately 250 to 300 mesh) and knead it with water-based oil or oil-based oil to create a powder of 150 to 225 mesh. If you apply it using a silk screen (fine screen), you can get a uniform product without the streaks that appear when applying with a brush or brush. Note that it goes without saying that the base material must be dried to such an extent that no problem occurs even if multiple coats are applied.

つぎにこのような下地塗りを施した基材面上に描かれる
下絵には陶芸用絵具、色彩用釉薬もしくは土インキ（焼
成すれば溶融して窯業原料となる　−天然土壌、岩石、
鉱物や人工の鉱物、結晶などの無機物質原料と無機質顔
料との混合物）が用いられ、前記の下地塗りのときと同
様、筆や刷毛等で描いても何ら支障はないが、均一性お
よび生産性の上からは、シルクスクリーン法によるのが
好ましい。この際のシルクスクリーンも絹その他合成繊
維または金属繊維を交織した２００〜２２５メツシュ程
度の網目のものであり、これに■厚手の紙力堕殊なフィ
ルムを希望する図柄模様に合わせて切り抜いて型紙を作
る方法、■原稿図柄模様を特殊クレヨンでスクリーン面
に直接描き、全面にクルー（にかわ）を流すと、クレヨ
ン部にはグルーが浸入せず、裏面から油でクレヨンを洗
い落として型を作る方法、■スクリーンに直接ゼラチン
感光液を塗って露光（焼付け）および現像して型を作る
方法、■カーボンティッシュ（こ原稿図柄を焼き付けて
、スクリーン上に転写して型を作る方法など従来広く採
用されている方法のいずれかを用いてマスキングを施し
たものである。このようなシルクスクリーンに使用する
絵具、釉薬、土インキ等は２５０〜３００メツ−シュの
粉末を練ったものが最も良好な作業性を示し、スクイー
ジ（へら）を往復させないで一度に刷り込むと区画線も
鮮明になって好ましい。また、２種以上の下絵を描くと
きは、前の下絵の乾燥した後につぎの下絵を刷り込むこ
とは言うまでもない。Next, the sketch drawn on the surface of the base material that has been coated with this type of primer is filled with pottery paints, coloring glazes, or clay ink (when fired, it melts and becomes a raw material for ceramics - natural soil, rock, etc.)
A mixture of minerals, artificial minerals, crystals, and other inorganic raw materials and inorganic pigments is used, and as with the base coating described above, there is no problem in painting with a brush or brush, but uniformity and production From the viewpoint of performance, it is preferable to use the silk screen method. The silk screen used at this time is made of a mixture of silk, other synthetic fibers, or metal fibers with a mesh size of about 200 to 225 meshes, and then a thick paper film is cut out according to the desired pattern and a pattern is made. ■How to create a mold by drawing the manuscript design directly on the screen surface with a special crayon and pouring glue over the entire surface, so that the glue does not penetrate into the crayon area, and wash the crayon off with oil from the back side to create a mold. , ■ A method of applying gelatin photosensitive liquid directly onto a screen, exposing it to light (baking) and developing it to make a mold, and ■ A method of creating a mold by printing the manuscript design on a carbon tissue and transferring it onto a screen. Masking is performed using one of the following methods.The paints, glazes, clay inks, etc. used for such silk screens work best when mixed with a powder of 250 to 300 mesh. It is preferable to print at once without moving the squeegee (spatula) back and forth to make the division lines clearer.Also, when drawing more than one type of sketch, make sure to imprint the next sketch after the previous one has dried. Needless to say.

このようにして１種もしくは２種以上の下絵が描き終わ
ると、厚盛りの画線部または浮上り模様を形成するため
の工程に移る。この際のスクリーンは４５〜８０メツシ
ュ程度の粗い網目のものでマスキングの厚さも下絵刷り
のときよりも厚くし、スクリーン全体の機械的強度を増
加するために、たとえばウレタン加工のような補強を施
しておくとよい。このようなスクリーンを使用して土イ
ンキ等をスクイージで一方向に刷り込み、乾燥および刷
り込みを適宜（たとえば３〜５回）繰り返えすと厚盛り
されて浮き上った図柄模様が描かれる。When one or more types of sketches are completed in this manner, the process moves on to forming a thickly-embossed drawing area or raised pattern. The screen at this time has a coarse mesh of about 45 to 80 mesh, the masking thickness is also thicker than that for underprinting, and reinforcement such as urethane processing is applied to increase the mechanical strength of the entire screen. It's good to keep it. Using a screen like this, use a squeegee to imprint earthen ink, etc. in one direction, and repeat drying and imprinting as needed (for example, 3 to 5 times) to create a thick, raised pattern. .

下塗り、下絵、厚盛り等によって凹凸のある図柄模様の
形成が終わった基材は充分乾燥させた後であれば比較的
短時間（たとえば３０分以内）に２００°Ｃ前後まで昇
温可能であるが、２００℃を越える頃から、素材中の有
機物（たとえば糊剤等のバインダー類や繊維素パルプ等
の燃焼または分解が始まるので、６００℃前後まで除徐
に昇温する。この間、燃焼等による発煙は少なくとも４
００℃前後になるまでに終わることが望ましい。６００
℃前後になると１０〜３０分間保持して、脱炭を完了さ
せ、それ以後は１時間１５０℃以下の速度でたとえば１
２００〜１３００℃まで昇温させる。The base material, on which uneven patterns have been formed by undercoating, sketching, thickening, etc., can be heated to around 200°C in a relatively short period of time (for example, within 30 minutes) after it has been sufficiently dried. However, when the temperature exceeds 200°C, organic substances in the material (for example, binders such as glue, cellulose pulp, etc.) begin to burn or decompose, so the temperature gradually rises to around 600°C. Smoke is at least 4
It is desirable to finish the process by the time the temperature reaches around 00°C. 600
When the temperature reaches around 150°C, hold it for 10 to 30 minutes to complete decarburization, and then heat it for 1 hour at a rate of 150°C or less.
Raise the temperature to 200-1300°C.

厳密な温度調整（昇温速度および到達温度等の調整）は
当然のことながら、使用素材の種類、製品の寸法、窯詰
め量、焼成雰囲気の種類等に応じて適宜行なわれるもの
であり、たとえばゼイル錐（ＳＫ７〜９）または光高温
計で測温すればよい。Strict temperature control (adjustment of heating rate, temperature reached, etc.) is, of course, performed as appropriate depending on the type of material used, product dimensions, amount filled in the kiln, type of firing atmosphere, etc. The temperature may be measured using a Zeil cone (SK7-9) or an optical pyrometer.

焼成が終われば徐冷し、炉温か１００℃以下になるまで
充分冷却した後、焼成品の窯出しを行なう。After the firing is completed, the fired product is slowly cooled down until the furnace temperature reaches 100° C. or less, and then the fired product is taken out of the kiln.

（５）作　用 この発明の陶板画の製造方法に用いる各素材は、膨張係
数、収縮係数が同一もしくは近似しているほど冷却過程
におけるひび割れ等による損壊の危険が少なくなるが、
重ね塗りされた素材間の結合力を増大するために融点の
低い釉薬（たとえば透明鉛釉等）を画素材間に予め下引
きしておくこと、さらには′、下絵または厚盛り図柄模
様を刷り終わった後、融点の低い釉薬をその上から押え
塗りしておくことなどは、この発明によって得られる陶
板画の実質的および装飾的効果を一層高めるのに役立つ
のである。(5) Function The materials used in the method of manufacturing ceramic board paintings of this invention have the same or similar coefficients of expansion and contraction, the less the risk of damage due to cracks etc. during the cooling process.
In order to increase the bonding strength between overcoated materials, a glaze with a low melting point (such as transparent lead glaze) may be applied in advance between the painting materials, and furthermore, it is recommended to After that, applying a glaze with a low melting point over the glaze helps to further enhance the practical and decorative effects of the ceramic plate painting obtained by this invention.

（６）　　実施例 焼成すれば陶磁器になる窯業原料として使用されている
無機物質と媒溶剤原料等を粉砕し、これを繊維素パルプ
とともに抄造して、前記無機粉末が約７８重量鳴定着し
た東洋パルプおよび８鉄鉱業両社の開発による「陶紙」
を基材１とした。また、これと同じ「陶紙」の原料を粉
砕し、１００メツシュ全通の粉末に整粒し、こ゛れを原
料として次の厚盛り用土インキ２種類（ＡおよびＢ）を
調製した。すなわち、 Ａインキ： 原料粉末（６６％）を水性オイル（日向社製：ＮＰ−７
またはＮＰ−１１）（１４％）、珪酸ソーダ２．７％水
溶液（２０％）とともに攪拌した混合液。(6) Example: Ceramics can be made by firing Inorganic substances and solvent materials used as raw materials for ceramics are crushed, and this is made into paper together with cellulose pulp, and about 78 weight of the inorganic powder is fixed. “Ceramic paper” developed by pulp and iron mining companies
was used as the base material 1. In addition, the same "porcelain paper" raw material was crushed and sized into a powder of 100 meshes, and the following two types of thick clay inks (A and B) were prepared using this as a raw material. That is, A ink: Raw material powder (66%) was mixed with water-based oil (manufactured by Hyuga Co., Ltd.: NP-7).
Or NP-11) (14%) and a mixed solution stirred with a 2.7% aqueous solution of sodium silicate (20%).

Ｂインキ： 原料粉末（３２，３％）とボンチャイナ（１，４％）と
「陶紙」を５００℃で脱炭した粉末（３２，３％）に水
性オイル（前記と同じ）（１４％）および珪酸ソーダ２
．７％水溶液（２０％）を加えて混合攪拌したもの。Ink B: Raw material powder (32.3%), bone china (1.4%), powder made by decarburizing "ceramic paper" at 500℃ (32.3%), water-based oil (same as above) (14%) ) and sodium silicate 2
．． A 7% aqueous solution (20%) was added and mixed with stirring.

である。It is.

さらに、下絵用インキとして次のもの（Ｃ）を調製した
。すなわち、 Ｃインキ： １２５０〜１２８０℃に耐えられる市販の下絵用釉薬を
２５０〜３００メツシュの微粒子粉末に整粒し、オイル
（前記水性オイルもしくは４２４６　（ｌ５ＥＫＹＵ）
のような油性オイルでもよい）でといたもの。この際焼
成後の発色の程度が同等になるように、オイルの添加量
を変化させるが、通常の場合、８〜３０％の範囲にある
。Furthermore, the following ink (C) was prepared as an underpainting ink. That is, C ink: A commercially available underpainting glaze that can withstand temperatures of 1,250 to 1,280°C is sized into a fine particle powder of 250 to 300 mesh, and oil (the above water-based oil or 4246 (l5EKYU)
Oil-based oil (such as ) may also be used). At this time, the amount of oil added is varied so that the degree of color development after firing is the same, but it is usually in the range of 8 to 30%.

である。It is.

また、シルクスクリーンはテトロン繊維を交織した４５
〜８０メツシュ（粗目）のものを厚盛り用に、１５０〜
２００メツシュ（細目）のものを下絵用に使用し、いず
れもジアゾタイプのスクリーンコート（乳剤）を用いて
マスキングを行ない、ウレタン補強をした。In addition, the silk screen is made of 45 woven Tetoron fibers.
~80 mesh (coarse) for thick serving, 150~
A 200 mesh (fine) one was used for the sketch, and both were masked with a diazo type screen coat (emulsion) and reinforced with urethane.

以上の諸準備を終えて次に示すような手順で陶板画を作
製した。After completing the above preparations, a ceramic board painting was created using the following steps.

〔実施例１〕 前記の「陶紙」を第１図に示す基材１とし、その表面に
透明で融点の低い鉛釉（ダンカン社製：ＬＰＧ−０１）
を細目スクリーンを用いて塗布し、下地塗り２を設けた
。つぎに、下地塗り２が乾燥した後、Ｃインキと細目ス
クリーレとを使って第２図に示すように下絵３の図柄模
様を描き、下絵３が乾燥し次第、再び前記鉛釉をその上
に塗って第３図に示すような押え塗り４を形成した。押
え塗り４の乾燥が終われば第４図に示すように、Ｂ−イ
ンキと粗目スクリーンとを用いて厚盛り図柄模様５を刷
り込み、充分乾燥させた後、電気炉に移し、約２０分間
で２００℃まで昇温させた後、昇温速度を小さくして４
００℃付近でパルプの燃焼による発煙のないことを確認
しながら約６００　’Ｃまで上昇させ、約３０分間６０
０℃前後に保持して基材１中の脱炭を行なった後１時間
１５０　”Ｃ程度の速度で１２８０℃まで上昇させた。[Example 1] The above-mentioned "ceramic paper" was used as the base material 1 shown in Fig. 1, and the surface thereof was coated with a transparent lead glaze with a low melting point (LPG-01 manufactured by Duncan Co., Ltd.).
was applied using a fine screen to provide base coat 2. Next, after the base coat 2 has dried, the pattern of the undercoat 3 is drawn using C ink and a fine screen as shown in Figure 2, and as soon as the undercoat 3 has dried, the lead glaze is again applied on top of it. This was applied to form a press coating 4 as shown in FIG. After the drying of the presser coating 4 is completed, as shown in Fig. 4, a thick pattern 5 is imprinted using B-ink and a coarse screen, and after sufficiently drying, it is transferred to an electric furnace and heated for about 20 minutes. After raising the temperature to 200℃, reduce the heating rate to 4.
While making sure that there is no smoke due to pulp combustion at around 00°C, raise the temperature to about 600'C and heat it for about 30 minutes at 60°C.
After decarburizing the base material 1 by maintaining it at around 0°C, the temperature was raised to 1280°C at a rate of about 150''C for 1 hour.

約１ｏ分間この温度に保持した後電気炉の電源を切り、
−夜放置後製品を炉外に取り出した。得られた製品（第
５図）は色彩コントラストが鮮明であり、また厚盛りの
凹凸による立体的変化も優れたものであり、従来の方法
と比較して生産性（特にシルクスクリ−ン法の採用によ
る土インキの刷り込みにおいて）が著しく向上すること
が明らかとなった。After maintaining this temperature for about 10 minutes, turn off the power to the electric furnace.
-The product was taken out of the furnace after being left overnight. The obtained product (Fig. 5) has a clear color contrast and excellent three-dimensional changes due to the unevenness of the thick embossment, and it is more productive than conventional methods (especially the silk screen method). It was revealed that the imprinting of soil ink) was significantly improved by adopting this method.

〔実施例２〕 実施例１において、下地塗り２および押え塗り４を行な
わず、また、Ｂインキの代わりにＡインキを用いたこと
以外は実施例１と全く同様の操作を行なって陶板画の作
製を試みた。鉛釉による下地塗り２および押え塗り４が
省略されたため、得られた作品の表面光沢は実施例１の
ものよりは劣ってはいたが、それなりの異った色調およ
び立体感をもった作品を得ることができた。[Example 2] Ceramic board drawings were made by performing the same operations as in Example 1 except that base coating 2 and press coating 4 were not performed and A ink was used instead of B ink. I tried to make it. Because the base coating 2 and press coating 4 using lead glaze were omitted, the surface gloss of the resulting work was inferior to that of Example 1, but the work had a different color tone and three-dimensional feel. I was able to get it.

〔実施例３〕 イタリアンタイルを基材とし、１０５０℃に耐えられる
下絵用西洋釉薬（ダンカン社製）を実施例１におけると
同様細目スクリーンを使って下絵を描き、その上に原料
粉末６５％、ボンチャイナ３５％の割合で混合した粉末
６６％と水性オイル１４％、珪酸ソーダ２．７％水溶液
２０％を混合した土インキで厚盛り図柄を粗目スクリー
ンを用いて描いた後１０００〜１１３０℃で焼成し、コ
ントラストの良好な立体感のある陶板を得た。。[Example 3] Using Italian tile as a base material, a Western glaze (manufactured by Duncan Co., Ltd.) for sketching that can withstand 1050°C was used to draw a sketch using a fine screen similar to that in Example 1, and then 65% of raw material powder was applied on top of it using a fine screen. A thick pattern was drawn using a coarse screen using clay ink made by mixing 66% powder of 35% Bon China, 14% aqueous oil, and 20% aqueous solution of 2.7% sodium silicate, and then heated at 1000 to 1130℃. After firing, a ceramic plate with good contrast and a three-dimensional effect was obtained. .

（７）効果 この発明の陶板画の製造方法は、前述したように、陶磁
器、はうろう、「陶紙」のようにセラミック質からなる
基材に応用されるものであり、「陶紙」のように可換性
のある基材を用いるならば、焼成前に円錐状（たとえば
ランプシェード状）に成形することも可能であって、用
途が拡大されるばかりでなく、シルクスクリーン印刷技
法を利用するために、幾多の異った図柄模様がきわめて
容易に、しかも鮮明に描かれ、凹凸も形成されることに
なるので、陶板画、レリーフ、銘銘皿等美術的なものの
ほか、タイル様の内外装用建築材用にも応用することが
できる。以上のように、この発明は従来の方法では類を
見ない高度の生産性を有し、広い範囲で活用され得るも
のであるから、その意義はきわめて大きいものであると
言える。(7) Effects As mentioned above, the method for producing ceramic board paintings of the present invention is applied to ceramic substrates such as ceramics, porcelain paper, and "ceramic paper." If a replaceable base material is used, it is possible to form it into a cone shape (for example, a lampshade shape) before firing, which not only expands the range of uses, but also allows silk screen printing techniques to be used. In order to use it, many different patterns are drawn very easily and clearly, and unevenness is formed, so it is used not only for artistic works such as ceramic board paintings, reliefs, and name plates, but also for tiles. It can also be applied to interior and exterior building materials. As described above, the present invention has a high level of productivity unparalleled by conventional methods, and can be utilized in a wide range of areas, so it can be said to have extremely great significance.

【図面の簡単な説明】[Brief explanation of drawings]

第１〜５図はこの発明の陶板画の製造方法の手順の一例
を模式的に示す断面図である。 １・・・基材、２・・・下地塗り、３・・・下絵、４・
・・押え塗り、５・・・厚盛り図柄模様1 to 5 are cross-sectional views schematically showing an example of the procedure of the method for manufacturing a ceramic board painting of the present invention. 1... Base material, 2... Base coating, 3... Sketch, 4...
・・Painting with pressure, 5・・Thick design pattern

Claims (1)

【特許請求の範囲】[Claims] セラミック質からなる基材面に、１種もしくは２種以上
の陶芸用絵具、色彩用釉薬もしくは土インキによる下絵
を描き、さらに、土インキによる厚盛りの画線部または
浮上り模様を４５〜８０メッシュのシルクスクリーンを
用いて描いた後、１３００℃以下で焼成することを特徴
とする陶板画の製造方法。Draw a sketch using one or more types of pottery paints, coloring glazes, or clay ink on the surface of the base material made of ceramic material, and then draw a thick line or raised pattern with clay ink at 45 to 80 mm. A method for producing a ceramic board painting, which comprises drawing using a mesh silk screen and then firing at a temperature of 1300°C or less.