Archive for August, 2006

Another way to obtain a contrast between bisque and glaze is by spattering glaze on green ware and then firing the piece. The glaze should be fairly hard so that the spatters remain stationary. White ware may be given a coat of underglaze color first. Or you may use red or buff clay with white or pastel opaque glaze.

Although the textural contrast remains basically the same, that is, glaze against bisque, there are many color combinations possible. The green ware may be a light color with a dark glaze spattered over it or it may be a dark color with a light opaque glaze as the spatter. A softer, more interesting effect can be achieved by spraying a second underglaze color along the top or sides of the piece and then spattering the glaze.

For example, the piece may be sprayed or painted with a turquoise underglaze, with a brown underglaze sprayed along the edges and a white opaque glaze spattered over the entire surface. Or the piece may be yellow with a turquoise edging and spatters of brown glaze. This technique is particularly adaptable to vases and lamps of simple design, although you must remember that vases will have to be glazed on the inside if they are to hold water.

Keywords: Ceramic Decorations, Ceramics Decor, Ceramics, Painting

Varying a bisque surface with accents of colored glaze presents many possibilities to the ceramic decorator. One interesting combination results from using a red or buff clay for the piece and applying small accents of underglaze color along with opaque glaze accents.

The underglaze areas are painted first, making sure that the underglaze is used only as an occasional accent and that most of the piece is left the original clay color. Then the opaque glaze accents are applied (a white or pastel opaque glaze should be used as the most effective contrast to the darker clay) and the piece is fired. This technique can be used to good advantage on figurines, animals or any sculptured piece

Illustration 114
The amusing figurine is of bisque red clay, with bisque underglaze and white opaque glaze accents.

where there are definite areas that can be used to balance bisque against glaze and light color against dark color. Waxing the bisque areas after the piece has been fired will give it an attractive sheen and a more finished look.

Keywords: Ceramic Decorations, Ceramics Decor, Ceramics, Painting

Glaze dotting can be used as an accent for other techniques or it can be used as the sole means of decorating a piece. As an accent, particularly on flat underglaze decora-

Illustration 113
Dots of white opaque glaze accent a simple design.

tions, dots of colored glaze add great interest and vitality to the piece. Not only do they provide color interest, but the raised dots permit an added contrast in textures.

A hard opaque glaze should be used for the dots so that they will not run in the firing and become distorted. A white opaque glaze can be used for white dots and underglaze color can be added to the glaze for pastel colors. The best way to apply the dots is with a medicine dropper. Dotting is usually done after the piece has been glazed and before it is fired, although if it is difficult to see the design underneath the glaze, the dotting can be done before the piece is glazed. A very attractive effect can be achieved by glaze dotting bisque ware. Opaque white glaze dotted on a bisque red clay is a good combination.

Keywords: Ceramic Decorations, Ceramics Decor, Ceramics, Painting

This is essentially a glaze technique because, although other techniques are involved, it is the glaze that will produce the “milky” effect. A design is cut on the green piece with a sgraffito tool. Then the piece is sprayed or painted with a dark underglaze color, covering the incised design as well as the background. Now the piece is glazed with a semi-opaque white glaze which can be made by adding 7-10% Ultrox, 3-5% tin oxide or 25-35% white opaque glaze to a clear glaze.

If the glaze has been made properly there will be enough opaque white to sink into the incised lines, but the glaze will be transparent enough to allow some of the underglaze color to show through, resulting in a cloudy or milky over-all effect. It will require a certain amount of experimentation to adjust the glaze to the underglaze color used,

Illustration 111
A “milky way” technique has been applied to the ash tray. A dark underglaze color covers the incised design and background and the piece is glazed with a semi-opaque white glaze. It sinks into the incised lines but allows some of the underglaze color to show through.

Illustration 112
(Below) The “milky way” technique was varied by coloring the piece first with copper oxide, then incising the design and applying the semi-opaque glaze.

since some colors are stronger than others and many colors change when subjected to the semi-opaque white glaze. Here is a good opportunity to add metal oxides to the background color as they produce a more intense color than the prepared underglazes and thus provide a better chance of the color showing through the semi-opaque glaze. The success of this technique depends upon achieving enough opacity in the glaze so that the sgraffito lines will be filled with white, yet retaining enough transparency in the glaze to permit some color to be seen.

Keywords: Ceramic Decorations, Ceramics Decor, Ceramics, Painting

Here is a simple yet highly effective combination of several techniques. Spray or sponge the center of the piece with a dark underglaze color. Then sgraffito a design through the color, but carry it well beyond the color as well. It is important to sgraffito beyond the color area to obtain the full

Illustration 109
The dish is then glazed with a soft turquoise overglaze and fired.

Illustration 110
The sgraffito lines within the dark underglaze area appear light; those outside the underglaze appear as darker lines against a light background.

effect of this technique. Then glaze the piece with a fairly soft, light colored transparent glaze and fire. (See Appendix.)

Within the dark underglaze area the sgraffito lines will appear as a light color, but the lines that have been cut outside the underglaze center will appear as darker lines against a light background. This effect is more or less an optical illusion since the incised lines in which the soft glaze has pooled are actually the same color within the center as outside. However, when the center of the piece is sprayed with a dark color, the illusion is such that the lines in the center are seen as light against dark while the lines outside of the dark underglaze center are seen as dark against light. That is why it is so important to carry the sgraffito design beyond the underglaze center. This technique can be made even more interesting by adding a few sandpaper strokes as accents.

Keywords: Ceramic Decorations, Ceramics Decor, Ceramics, Painting