Originating in Korea and developed in Japan in the 16th century, the Mishima technique consists of creating inlaid patterns by incising or stamping raw clay. The patterns thus formed are then filled with numerous layers of porcelain slip, creating a contrast with the color of the piece. Once the excess is scraped off, the patterns appear with precision. Also called Zōgan, this Japanese technique allows pieces to be decorated with remarkable finesse.
At the end of the training, the trainee will have assimilated:
Discover the different states of the earth: situate the medium used in the training
Understand the plasticity of a clay and the specific properties of high temperature earths
Master the development of a plate and its cutting
Experiment the composition of a decoration
Reproduce a decoration using the stencil technique or freehand
Learn the techniques of engraving and stamping
Make colored porcelain and stoneware engobes
Experiment with the installation of engobes in an engraved decoration
Understand a kiln and a firing procedure
This training offers an introduction to the Mishima-Zōgan decoration technique. Originally from Korea, this method was adopted and perfected in Japan. It consists of decorating raw clay by engraving or stamping the surface, then filling the hollows thus created with colored engobes, contrasting with the color of the piece. Once the excess engobe has been cleaned, the pattern gradually appears. Unlike the sgraffito technique, where the decoration is engraved on the surface, Mishima encrusts the patterns entirely into the clay.
Day 1
Morning
Welcome and round table of speakers
Theoretical and practical introduction to the states of high-temperature clays and their specificities
Afternoon
Manufacture of colored engobes
Preparation of clays and production of plates
Day 2
Morning
Development of the individual project: composition of the decoration on A3 sheet
Cutting of plates according to each person's project
Afternoon
Development of the stencil
Application of the stencil
Day 3
Morning
Engraving or stamping of the transposed decoration (individual project)
Afternoon
Finalization of the pattern and application of engobes (individual project)
Day 4
Morning
Finalization of the individual project
Individual feedback
Afternoon
Development of the collective project
Shape, pattern, stencil, engraving and engobes
Day 5
Morning
Finalization of the project collective
Collective feedback
Round table of individual pieces
Drying of collective pieces
Afternoon
Baking and firing
Collective restitution at the end of training
Tidying up the workshop
Sofi Buquet
Residing in Saint-Amand-en-Puisaye, in Burgundy, since 2008, Sofi has trained in Creative Ceramics and High Temperature Enamel Research at Ema-Cnifop. A ceramist who has been established for about ten years, she practices her art at La Fabrique, in the premises of the former Mallet pottery.
Ceramics have been present in her life since her adolescence, but it was in the bookselling profession that she first began her professional career. Her time in independent bookstores reinforced her interest in illustration and graphic design, particularly in children's literature. Subsequently, she gained experience in supporting and supervising young people, both children and adolescents. Involved in the associative environment, Sofi has gradually developed an educational approach focused on experimentation and poetic expression through working with clay.
Not working on a wheel, she prefers to create organic and random forms. Currently, her pieces, made of stoneware and porcelain, evoke spontaneous sketches: every detail counts, like a deliberately disproportionate or superfluous handle. A fly resting on the edge of a plate testifies to her taste for poetic and playful detail. Her work seeks to disturb, to surprise, revealing an aesthetic that invites reflection and wonder.
Price(s) including the cost of training, accommodation and full board, materials and personal protective equipment.