
Properties & Qualities
Application
Art
Qualities
3D Other
Colour
Black Brown Earth-colour Other
Sample Information
Date of Creation
June 5th, 2015
Dimensions
W 23cm, L 27cm
Weight
725g
Culture & Context
When I first embarked on researching the possibilities of the application of the printed surface to ceramics in 1988, most of my findings were in the form of screen-printed ceramic transfers. These onglaze transfers were used in the ceramic industry as one of the primary methods of decorating industrial ceramics. I was interested in approaching using ceramic print in a craft context as a one-off, with qualities much more akin to fine art print or surfaces that had a depth of colour and sensitivity. It became clear why the research post had been created, there was very little evidence of makers at this time using print in a craft context, especially in the UK. In the ceramics department, I was able to gain knowledge about screen-printing; I was interested in experimenting with this process in relation to hand ceramics. Very quickly, I was excited by the qualities this technique revealed – my journey of discovery began. I started to specialise in direct screen-printing on clay in its raw, bisque and fired states. Very early on my research attracted interest from other ceramics departments nationally and internationally. I was invited to deliver workshops and demonstrations about the technique of direct screen-print on clay. In the mid-nineties, ceramic print became popular with ceramic artists and makers, mostly in the form of onglaze transfers, where the technique was used by individual artists as a means of personal expression. Today there is relatively few ceramic artists and makers who use the process of direct screen-printing on clay. |
Process & Production
The wall piece is made from a black basalt body. Screen-printing is carried out on the leather hard clay using underglaze colours in a water based medium. The clay slab is bisque fired to 1000°C and then fired to1250°C. Further screen-printing takes place to build up layers of underglaze colour and glaze in order to achieve a depth of colour and surface. The piece undergoes multiple firings, each time a greater depth and richness of surface is accomplished. The printing can sometimes create results, that can often provide the thread to the next stage. This an exciting way of working, allowing the unforeseen to occur. Reflection is an important part of this process, assessing the results during printing and after firing. The firing also allows for the unexpected to happen as the layers interact with each other. |
Recipe Details
Direct screen-printing the image onto the clay.The prepared clay slab is placed on a table.Wooden batons are placed on the table either side of the clay slab.The screen is positioned over the clay on the wooden batons to ensure there is a space between the clay and the underside of the screen.The colour mixture is placed on the screen away from the stencil, pressure is applied using a squeegee, to pull the colour across the image area.The remaining colour is collected and returned to the jar; the screen is washed in cold water and left to dry.Further printing is carried out with different designs and colours and the piece is fired several times. Mixing the colourThe underglaze colour is placed on a sheet of glass, a well is made in the centre of the colour and a ceramic water-based medium and hardener are added.A palette knife is used to mix the colour, medium and hardener until it is fully integrated and smooth. |
Credits
Craft Maker
Vicky Shaw
Library Contributor
Vicky Shaw
Photographer
Vicky Shaw