Atlikta istorinių kobalto pigmentų analogų Rentgeno spindulių difrakcinė analizė parodė, kad metodas efektyvus, nustatant kobalto šviesiai violetinį CoNH4PO4•H2O, kobalto mėlynąjį šviesų, ceruleumą ir kobalto žalsvai mėlyną CoO·ZnO, jų švino glazūrose, bet netinka aureolino [K3(Co(NO2)6]•3H2O, kobalto tamsiai violetinio Co3(PO4)2, kobalto mėlynojo tamsus, kobalto melsvai žalio ir smaltos CoO•nSiO2 nustatymui. IR spektroskopiniai tyrimai parodė, kad šis metodas efektyvus, kokybiškai nustatant neoksidinius kobalto pigmentus aureoliną, kobalto šviesiai violetinį, kobalto tamsiai violetinį jų švino glazūrose. Paprastu nusodinimo metodu susintetintas kobalto pigmentas violetinis šviesusis CoNH4PO4, pasižymintis analogiškomis fizikinėmis savybėmis, kaip ir komercinis Kremer Pigmente pigmentas. Sukurtas naujas, patogus ir pakankamai tikslus IR spektroskopinis SiO2 kiekio CoO ir SiO2 mišiniuose (ribose tarp 9,1-50 mol%) ir kobalto pigmente smaltoje CoO×nSiO2 (ribose tarp 20 iki 50 mol%) nustatymo metodas. Zolių-gelių metodu susintetinti ir visapusiškai ištirti nauji kobalto pigmentai: špinelio struktūros kobalto aliuminatas CoAl2O4 ir chromatas CoCr2O4 bei kobalto, aliuminio ir neodimio oksidų mišiniai (CoAl1,75Nd0,25O4, CoAl1,5Nd0,5O4, CoAlNdO4), pasižymintys spalvinėmis keraminių pigmentų savybėmis. Pirmą kartą zolių-gelių metodu susintetinti ir visapusiškai ištirti nauji kobalto pigmentai: vienfazis perovskito struktūros neodimio kobaltatas NdCoO3, mišrūs perovskitiniai neodimio... [toliau žr. visą tekstą] / X-ray diffraction analysis (XRD), infrared (IR) spectroscopy and scanning electron microscopy have been used for the characterization of cobalt-based pigments (Kremer Pigmente) and their lead-based glazes. It was also demonstrated that XRD analysis could be successfully used for the identification of cobalt pigments cobalt violet brilliant light CoNH4PO4•H2O, cobalt blue light, cerulean blue, cobalt green bluish CoO·ZnO in their glazes. However, only non-oxide cobalt pigments cobalt yellow [K3(Co(NO2)6]•3H2O, cobalt violet brilliant light and cobalt violet dark Co3(PO4)2 could be determined in their glazes using IR spectroscopy. The similarity of all SEM images of cobalt-based glazes let us to conclude, that the main morphological features of glazes are not dependent on the nature of cobalt pigment. The single phase cobalt violet light brilliant pigment has been synthesized using a simple co-precipitation approach. The characteristics of the obtained product were compared with those of a commercial sample purchased from Kremer Pigmente. For the first time to our knowledge, it was demonstrated that the characteristic Si-O absorption band at 812 cm-1 could be successfully used as indicator in the evaluation of molar ratio of CoO and SiO2 in their mixture. The novel method for the determination of SiO2 in physical mixtures of CoO ir SiO2 (in the range 9,1-50 %) or blue cobalt smalt pigment (CoO×nSiO2) (in the range 20-50 %) by FTIR spectroscopy is suggested. New cobalt-based... [to full text]

A atual problemática da disposição de resíduos eletroeletrônicos estimula a realização de pesquisas visando o reaproveitamento desse tipo de resíduo na fabricação de novos produtos ou na utilização dos mesmos em processos já existentes. O descarte de monitores de computadores e TVs com a tecnologia de tubos de raios catódicos (CRT) não é simples, pois os mesmos contêm metais pesados e há poucas alternativas de reciclagem estabelecidas, o que gera um passivo ambiental ainda sem solução. O CRT corresponde a 80% do peso de um monitor de computador e é constituído por três tipos de vidro, com diferentes composições. A relação aproximada (em % peso) é: 65% painel, 30% funil e 5% pescoço. Entre os diferentes vidros dos quais é fabricado os CRTs, o painel tem altas porcentagens de óxidos de metais alcalino e alcalino-terrosos e assim grande potencial para ser aproveitado como substituto de fritas na formulação de esmaltes cerâmicos. Uma vantagem adicional é o fato de que os metais pesados são estabilizados na forma de óxidos, tendo a mínima dissolução após a sinterização e vitrificação. Neste trabalho as composições químicas do vidro de painel de CRT e da frita foram caracterizadas pela técnica de FRX e ICP-AES. Depois os valores do coeficiente de expansão térmica e a viscosidade como função da temperatura foram calculados usando modelos empíricos que relacionam essas propriedades com a composição química do vidrado, através do software e banco de dados SciGlass®. Substituições parciais de frita por vidro de painel de CRT foram experimentalmente testadas na formulação de um esmalte transparente típico. Suspensões com 10 a 40% em peso de vidro de painel de CRT como substituto da frita tradicional foram preparadas e aplicadas sobre a superfície de substratos de argila conformados por prensagem. Subsequentemente, as placas foram queimadas seguindo um ciclo térmico similar ao utilizado industrialmente. Os valores do coeficiente de expansão térmica foram caracterizados por dilatometria. A viscosidade do esmalte foi medida a temperaturas elevadas (viscosidades baixas). A cor e a transparência dos esmaltes após a queima foram caracterizadas por colorimetria. Em uma análise comparativa, a substituição de 20% em peso de frita por vidro de painel de CRT resultou em revestimentos com propriedades equivalentes as de esmaltes comerciais. / The current problem of disposal of electronic waste stimulates research aiming at the reuse of this type of waste in the manufacture of new products or existing processes. The disposal of computer monitors and televisions based on the technology of cathode ray tube (CRT) is not simple, since they contain heavy metals and there are few recycling alternatives nearby the consumer center, generating an unsolved environmental liability. The CRT corresponds to approximately 85 wt% of a computer monitor, and is composed by three silicate glasses with different compositions, in the approximate proportions (wt%): 65% panel, 30% funnel and 5% neck glass. Among the different glasses of which the CRT\'s are made, the panel has higher percentages of alkali and alkaline earth metal oxides, which thus give them potential to be used as frits substitute in the formulation of ceramic glazes. An additional advantage is the fact that these heavy metals are stabilized in the form of oxides, presenting minimal dissolution after sintering and vitrification. In the present work, the chemical compositions of a CRT\'s panel glass and glaze frits were characterized by XRF and ICP-AES. Then, the value of thermal expansion coefficients and viscosity were calculated as a function of temperature using empirical models that relate such properties with the glass chemical composition, aided by the SciGlass software. The partial replacement of frits for CRT\'s panel glass was experimentally tested in the composition of a typical transparent ceramic glaze. Aqueous suspensions containing 10 to 40 wt% of CRT\'s panel glass as a substitute for the traditional frit were prepared and applied on the surface of substrates formerly obtained by pressing a clay raw material into plates. Subsequently, the plates were fired following a thermal treatment similar to the used industrially. The resulting thermal expansion coefficients were characterized by dilatometry. The glaze viscosity was measured at high temperatures (low viscosities). The color and transparency of the glazes after firing were characterized by colorimetry. In a comparative analysis, the substitution of 20 wt% of frit by CRT\'s panel glass resulted in ceramic tiles with properties equivalent to those of the commercial glazes.

I call my project COLORUM - A ceramic investigation of form in relation to balance and spatiality. Colorum means colors in Latin. Dividing the word, color from English, and rum is space in Swedish. I have investigated the ceramic process through basic geometric shapes. Trying to understand, learn, feel and master the material. Work with and against it, control, and let go of control. I have been working with casting techniques and exploring the primary forms, challenging the material, pushing the clay norms to their edge. By relating to geometry, I defy myself to create these precise forms in ceramics. I combine soft, colorful glazes on the surface with a strict body that creates a juxtaposition that opposes each other. The journey continued by challenging the precise forms through gravity movement creating imploding bodies. I'm curious about the dialogue and the meeting between different expressions in shapes, material, and volumes.

The paper examines the work and production of Swedish ceramist Isak Isaksson (born 1949) from the aspects of emotional connection to materials, work processes, development and perceived meaning in relation to extraordinary craftmanship and the production of crystalline glazes. Isaksson has worked as a ceramist since the mid 1970s, starting with basic, functional stoneware goods but gradually moving towards the creation of art objects. His works, consisting of simple, traditional vessel shapes thrown to perfection – in combination with highly advanced crystalline glazes, have earned him recognition in Sweden and internationally.        While investigating Isaksson’s love for the intuitive, ancient technique of throwing, the paper also highlights his use of sophisticated chemical glazing methods and digital technique for creating, learning, inspiration and communication. Five of Isaksson’s contemporary pieces with crystalline glazes are studied with a combination of semiotics, associations and open senses.

For this doctoral dissertation there were synthesized and observed the black pigments which are important in both – in art and industry. It was the first time when using the sol-gel method in our laboratory were synthesized YFeO3, Y3Fe5O12, CoFe2O4, NiFe2O4, ZnFe2O4 nanocompounds, which latter were fitted for the black pigmentation of the ceramic glazes. / Buvo sudaryti modeliniai juodieji pigmentai iš C suodžių ir K2CO3, Ca3(PO4)2, CaCO3 bei Mg3(PO4)2.Vandeniniu zolių-gelių metodu buvo susintetinti įvairūs metalų vienfaziai nanoferatai YFeO3, Y3Fe5O12, CoFe2O4, NiFe2O4, ZnFe2O4, kurie pirmą kartą panaudoti juodaisiais keraminiais pigmentais.

Buvo sudaryti modeliniai juodieji pigmentai iš C suodžių ir K2CO3, Ca3(PO4)2, CaCO3 bei Mg3(PO4)2.Vandeniniu zolių-gelių metodu buvo susintetinti įvairūs metalų vienfaziai nanoferatai YFeO3, Y3Fe5O12, CoFe2O4, NiFe2O4, ZnFe2O4, kurie pirmą kartą panaudoti juodaisiais keraminiais pigmentais. / For this doctoral dissertation there were synthesized and observed the black pigments which are important in both – in art and industry. It was the first time when using the sol-gel method in our laboratory were synthesized YFeO3, Y3Fe5O12, CoFe2O4, NiFe2O4, ZnFe2O4 nanocompounds, which latter were fitted for the black pigmentation of the ceramic glazes.

Dans les arts plastiques, le concept de la beauté doit être associé aux techniques sous-jacentes. L'artiste doit choisir et maîtriser ces techniques afin de les appliquer à l'art en vue d'atteindre les résultats esthétiques visés. Une approche scientifique de ces techniques a un rôle important dans l'amélioration de leur application dans les arts plastiques. Les céramiques et poteries sont un domaine complexe où les réactions chimiques et les propriétés physiques des argiles et des glaçures doivent être prises en compte. Dans ce domaine l'histoire de la science était un guide utile dans une telle recherche. Pour les céramiques, les réactions chimiques se produisant à la phase haute température du processus de cuisson déterminent essentiellement l'aspect final de la surface du produit. En conséquence, changer les conditions de ces réactions (profils de température, la nature de l'atmosphère du four) était une bonne méthode pour obtenir de nouveaux aspects de surface. L'atmosphère du four pendant et après la cuisson permettait de contrôler, dans une large mesure, l'aspect final des produits céramiques, et cela dépend à la fois de la conception et de la mise en place du four. L'étude de l'histoire des techniques céramiques, dans différentes civilisations, a conduis à un aperçu des techniques de cuisson. La compréhension scientifique de ces techniques a mené à des stratégies en vue de modifier la conception du four et la pratique de la cuisson. / In Plastic arts; with the concept of beauty there are also techniques, artists choose between these techniques for apply art works matching with aesthetic viewpoint. As well as science have important role in improved applied arts and fine arts techniques. In ceramics and pottery we are confronted with the chemicals reactions and physical properties of clay and glaze which have deep roots in human history, so history techniques will guide us in this research. In ceramic, chemical reactions need high temperature as condition to exist (Firingprocess), and that have main role in determined final appearance of surface treatments for ceramics forms. When the chemical reactions and physical properties which happen in firing process are responsible of final appearance and aesthetics treatments of ceramics forms, the changing of reactions conditions was used for achieving new treatments for ceramic surface beauty. The atmosphere of kiln during and after firing process whom decide the final appearance for ceramics forms, presented as technique for modifying kiln structure as afactor of enriching aesthetics treatments for ceramic surface. The history and science of ceramics techniques in some civilizations was studied to understand some firing techniques and its roles in ceramic surface esthetics. These provided evidence with experimental study to design a new kiln which can be used as a tool to enrich ceramics forms aesthetically

Depuis les années 1990, des études archéométriques ont permis d’attester la production de nouveaux types céramiques en Anatolie occidentale, liée à l’installation de populations turques dans la région à partir de la fin du XIIIe siècle. Parmi ces nouveaux types figurent des céramiques dont les formes et les décors, très répandus dans le monde islamique, témoignaient de l’introduction de nouvelles techniques de fabrication.Sur la base d’un échantillonnage de 87 tessons découverts sur cinq sites turcs et trois sites de Crimée, l’étude, associant approche archéologique et analyses physico-chimiques, a permis de proposer des cadres chronologiques pour ces premières productions turques et de déterminer les techniques de fabrication de leurs revêtements – engobes et glaçures – servant au décor. La définition de ces techniques repose essentiellement sur des analyses élémentaires et structurales par MEB-EDS et par spectrométrie Raman, dont les résultats permettent de confirmer l’utilisation de nouvelles recettes et de nouveaux matériaux.Alors que les décors des céramiques byzantines étaient essentiellement constitués d’une glaçure plombifère transparente, colorée par une gamme réduite d’oxydes métalliques et reposant sur un engobe argileux, les décors des premières céramiques turques, d’époque beylik, produites dans la région, étaient bien plus variés. Leurs glaçures, témoignent d’une plus grande diversité, aussi bien dans la nature des fondants et des opacifiants, que dans celle des colorants utilisés.Considérée comme l’un des premiers types de céramiques ottomanes, la Miletus Ware présente le décor le plus élaboré. L’engobe n’est plus argileux, mais synthétique, préfigurant ainsi les productions plus tardives à pâte synthétique d’Iznik qui feront la renommée de la céramique ottomane au XVIe siècle. Notre étude a ainsi permis de caractériser et de contextualiser les évolutions techniques qui marquent la transition entre céramiques byzantines et ottomanes en Anatolie occidentale. / Since the 1990s, archaeometric studies have attested to the production of new types of ceramic in Western Anatolia, linked to the arrival of Turkish populations in the region from the end of the 13th century. Among these new types are ceramics whose shapes and decoration are very commonly found in the Islamic world, and which show the introduction of new techniques of fabrication.Taking a sample of 87 sherds discovered at five Turkish sites and three sites in the Crimea, this study, combining an archaeological approach with physicochemical analyses, enabled us to propose a chronological framework for these initial Turkish productions and to determine the techniques of fabrication of their coatings – slips and glazes – used for the decoration. The definition of these techniques relies in the main on elementary and structural analyses by SEM-EDS and by Raman spectroscopy, the results of which permit us to confirm the use of new recipes and new materials.While the decoration of Byzantine ceramics was essentially constituted of a high-lead transparent glaze, coloured by a reduced range of metallic oxides resting on a clay slip, the decoration of the initial Turkish ceramics, from the Beylik period, produced in the region, were much more varied. Their glazes attest to a greater diversity in the nature of the fluxes and opacifiers, as well as in the colorants used. Considered to be one of the first types of Ottoman ceramics, the Miletus Ware shows the most elaborate decoration. The slip is no longer clay-based but synthetic, prefiguring in this way the later production using synthetic paste of the Iznik Fritwares upon which the fame of 16th century Ottoman ceramics was based. Our study thus enabled us to characterise and contextualise the technical evolution which marked the transition from Byzantine to Ottoman ceramics in Western Anatolia.