Archive for April, 2006

A crisp, fresh type of decoration can be achieved by means of a “dry brush” technique. An entire design may be executed with dry brush strokes or the strokes may be used as an accent over solid areas. For this technique, a square brush is essential, the size depending upon the desired width of the strokes. Apply the underglaze (the “one stroke” colors are best for this technique) to the brush, then remove the excess color by stroking the brush on a piece of paper until the resulting brush strokes are quite, dry. With practice you will be able to determine the proper amount of color for a satisfactory dry brush stroke. When applying this type of brush stroke to the ceramic piece, do not go over the stroke again or the entire effect will be destroyed. Any overworked appearance must be avoided since the success of a dry brush technique depends upon its freshness.

Illustration 82
Decorative sponging applied to stencil designs produces a soft effect, as on this dish. (Courtesy of Florence Cox.)

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A dry brush technique produces a crisp decoration. The dry brush strokes here accent the line design.

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Sponging can also be used effectively as a form of shading, especially with fruit and vegetable motifs.

In addition to providing an excellent background, sponging can be used effectively as a supplement to other techniques. A light, modern treatment will result when a line design (black, brown or any other dark color) is brushed on over a sponged motif. The sponged pattern may be an abstract one such as geometric shapes, or it may be a traditional motif, including birds, leaves, fish, flowers, etc. If a precise outline is desired, stencils of newspaper can be cut and applied in the same manner as newspaper

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76. To make a line design over a sponged square, first sponge the piece with a light underglaze color.
77. Apply a square of newspaper with gum or glycerine.

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78. Sponge a darker color on the piece, going well over the mask.
79. Remove the square mask.
80. The completed background for a line design is a light square on the darker plate.

Illustration 81
Here is the finished plate, with a line design freely brushed on the sponged background.

masks. Color is then sponged inside the stencil, producing a clearly defined shape. The stenciled effect is not objectionable in this case because the sponging itself gives a slight irregularity to the edges if it is not applied too solidly, and the brush work afterward will do much to lessen the mechanical appearance of stenciled designs.

Sponging, as a background for a line design, need not be restricted to a definite motif. If the line design is interesting enough, the sponging can be irregular and of no particular pattern. Actually, a soft indefinite area of sponged color is sometimes more pleasing and gives greater importance to the line design.

Another effect possible with sponging is a form of shading. This is particularly effective on fruit and vegetable motifs where a certain amount of roundness may be desired. The main design is applied in solid colors and a darker color is sponged on the areas where a shaded effect is wanted. The suggestion of shading achieved by sponging is far more attractive on a ceramic piece than a realistic “painting” approach. A ceramic piece should not be used as a vehicle for picture painting and while the design may be of a realistic subject, it should always be treated decoratively.

Illustration 74
A sgraffito design lends interest to a solid background. (Courtesy of Florence Cox.)

We have discussed the sgraffito technique in connection with engobes (see Chapter VII) but this technique can be applied with equal success to underglaze decoration. The actual cutting procedure is the same; the only differences are the various ways in which sgraffito can be combined with other underglaze techniques.

Sgraffito can be used as the sole means of decorating a piece on a solid color background. However, it is usually more effective when used as an accent or as a line design on an interesting background. A background that has been “spun” (see page 69) with several colors lends itself wonderfully to a simple black line and sgraffito design; sgraffito is very easy to do on this type of background because there is no heavy application of color to render cutting difficult.

One unusual and extremely attractive way to vary a sgraffito technique is to fill in some of the cut lines with a light wash of color. Do not apply the color heavily or the effect of sgraffito will be lost. The color should be light in value as well as in consistency and for this purpose the “one stroke” underglazes are more satisfactory. This technique, especially if more than one color is used, shows to best advantage on a fairly simple, dark background, a solid-color background or a sponged background that is dark enough to contrast with the light lines. The effect achieved by colored sgraffito is one of depth and translucence of color impossible to obtain in any other way. The main thing to remember is to keep the washes of color light, both in tone and application.

Sgraffito is also a good way to soften the hard outlines of a masked design. There are few underglaze decorations that will not benefit from the use of several well-placed sgraffito accents. In fact, the uses for sgraffito are so numerous and varied that mastery of this technique is almost a decorating “must.”

Illustration 75
All-over sponging is the background for a simple black, brown and sgraffito design.

Marbeliziing

A marbelized background is very attractive and can be used without other decoration. For this type of background two colors are used, a very light color and a dark color. Pool a small area (about the size of a quarter) of the light color on the surface of the piece. While the light color is still wet, drag a brushful of the dark color through it. To prevent the pooled color from drying out too quickly, add glycerin or mineral oil to it first. Repeat the entire process until the surface is covered. The success of a marbelized background will depend to a great extent on the color combinations involved. Light turquoise and brown, white and black, light blue and dark blue, light grey and dark green are a few of the attractive marbelized combinations.

Masking with underglaze

Masking may be done with one of the commercially prepared liquids or with paper masks. For decorations involving line work or very small, complex shapes, the liquid masking preparations are preferable, but paper masks or stencils are more satisfactory for large areas. Newspaper is the best material for masks because it adheres to the clay surface without the wrinkling or buckling caused by heavier, less absorbent paper.

Cut the desired shape from newspaper and apply it to the piece with glycerin, mineral oil or gum tragacanth. Make sure that the mask is thoroughly moistened so that it will lie flat. The background may then be sprayed, sponged or spattered, the color going well over the masks to insure clean-cut edges. When the underglaze is dry, remove the paper mask by prying up the edges with a sharp tool. Decorations done in this manner are apt to appear mechanical so be sure to add enough hand strokes to give the piece vitality. If you are careful to camouflage the obvious stencil appearance, masking can be an attractive and valuable asset, especially where any quantity work is involved.

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A design of small masks is here combined with a spatter background. When spattering, the color must go well over the masks. Hand strokes added afterward eliminate any mechanical appearance.

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69. For a mask decoration, a design cut from newspaper is applied to a tile.
70. The background is heavily sponged, with the color going over the mask.
71. The paper mask is removed.
72. The outlines of the design are incised with a sgraffito tool to remove the stenciled appearance.
73. Accents of underglaze color complete the decoration.