Know-How


Society U. M. E. C

SEAT: PARIS (FRANCE)

ID SIRET: 82250318100015


Painter on porcelain

VÉRONIQUE PÉNET contact@porcelainedeveronique.com


1) GAME OF CREATION

  • CUTTING to THE TOUCH of the inclinations of the object defining the shadows, way puzzle. And if the interior of the object’s plan, so white, nothing stops me. I arbitrarily define, I invent a movement and a geometry, I create a padlock.
  • Spontaneous SKETCHES with a grease pencil for porcelain (erasable on the finger) on some of the pieces of the puzzle. (Well, why not a butterfly here, thinking of Japanese honeymooners?).
  • DRAWING with the pencil on a sheetf paper,  where the execution of some of the pieces of the puzzle would ask me to have memorized the gesture of a particular path to keep the elegance and spontaneity that I will use with my brushes!
  • PAINTING in watercolor, or COLORING with the pastels on Canson’ s sheet of paper – cut to the size of the object-  of the all of the puzzle in order to give to the object an harmonious lighting.

I choose FREEDOM. I will never reproduce my own creations. However, sometimes I do look up to 12 objects, maximum. Each piece of a same unique rest puzzle, a new creation…

2) PREPARATION

  • CLEANING with a magnifying glass of porcelain with household alcohol.
  • DEMARCATION OF PARTS of THE PUZZLE through moveable scotches or a varnish of reserve.
  • PRECISION OF SKETCHES with the porcelain pencil.
  • Eventual POSTPONEMENT of THE DRAWING from the sheet of paper to the porcelain.
  • CHOICE OF PIGMENTS INSPIRED BY RENDERINGS OF COLORS ON PAPER.

I have more than 80 small pots of different pigments. Associated with each pot are a brand (Shrira, Scherling, DecoM or Martin), weight and name of pigment. (Ditto for the bottles of the metallic colors).
I realized, so long already, a palette on a flat cake with some of my pigments to give me an idea of the color made after their cooking.

Palette

N.B.: I already painted and cooked faïences. The effect is necessarily less luminous, so the colors I choose are usually those more vivid! Matte gold at 24% very well enhances the object.

  • CHOICE OF INSTRUMENT
  1. FEATHERS

I choose a FEATHER fine to date and sign the back of each creation, and very often also for trimming the color Black. I haven’t told you about the black color, and yet often lack me! Actually, I spend long hours to practice the calligraphy on paper with ink of China black, then I reproduce these gestures with FEATHERS to bevels on objects without shadows China.

2. BRUSHES

A dozen brushes with different amounts and lengths of hair Sable: to give curves their spontaneity and light, according to the surface to be painted.

1 brush short hair beveled Sable (called ferrets): to flatten the layers.

1 brush synthetic right: dedicated to the installation of a veneer of reserve, chandeliers, gold or Platinum.

1 brush to make effects of material: wood, marble or the speckled.

2 brushes long hairs Sable: to run nets or rosettes when I use my low tournette.

4 tasses sur tournette

 

3) PAINTING

  • PREPARATION OF COLOURS on a white tile enamel
  1. PIGMENTS

With a spatula, I get out of its pot a few grains of pigments. Then I crush them and mix them with a few drops of medium and/or lavender.

I don’t mix the pigments among themselves because cooking some eat others (yellow devours everything). Alone at the blue, I add the « FONDANT » to achieve a greater brilliance after cooking.

I never get the same color after cooking because the number of drops of oil to mix depends on the amounts of pigments out to the tip of their potty (it should be able to count the number of grains! unless you use a balance…).

2.  METALICS

With a glass stick, once the bottle is shaken and warmed up in my hands, I mix in their bottle chandeliers, turntables and gold. Only gold and platinium can be diluted on the tile with a specific diluent using a spatula. Gloss applies such brush which!

  • LAYING OF THE COLORS

Be in pen, either with a brush soaked in the essence of turpentine to liquefy the color and purify the brush, at least between each color.

Sometimes, often, without pen or brush, I’m « crazy » with a metro ticket, a cotton swab, a film for microwave, or even a fingernail or a finger, why not, following the inspiration.

  • « PUTOISAGE » of the installation to avoid thicknesses which could shatter the baking enamel. « Putoiser » means stamping with a doll of gauze, a sponge or a « PUTOIS ».
  • DRYING of each color for a few minutes.
  • NECESSARY FINISHES TO SEARCH FOR THE PERFECTION of a CRAFTSMANSHIP

SIGNATURE on the back of the article, CORRECTIONS on the front of the traces, VERY LONG JOB TO CLEAR IMPERFECTIONS using a magnifying glass (held in left hand) AND magnify glasses on my glasses with a stick (held in right hand), saliva or alcohol.

4) BAKING

Carefully, without touching parts painted article to risk scratches or the resistance of the furnace at-risk damage, I’m playing « Tetris » to find the place where to drop one or more items: directly on a plate or elevated (s) on a medium or a piquot.

5) COOKING

As each color range corresponds a particular baking program : rise in temperature and associated temperature time, cooking time to maximum temperature and associated temperature.
Also, an article will be cooked as many times there are ranges of colors used on the article. The cooking time is about 15 hours. We need to cook and so to paint the first colors that require maximum temperature; What complicates the work of implementation!

20110526-075933.jpg
at EACH OPENING OF THE OVEN, it IS LIKE REMOVING THE BOLDUC of a CHRISTMAS GIFT!

The oven, equipped with resistance, gives off odors and heat, and bakes porcelain, faience and glass up to 1200 degrees.

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