Properties & Qualities
Application
Art
Qualities
3D Colourful Polished Smooth
Colour
Black White Yellow
Sample Information
Date of Creation
February 10th, 2015
Dimensions
Diameter 23cm, height 5cm
Weight
1175g
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 image or design is drawn on paper using Indian ink and the design is photographically reproduced onto the screen. Direct screen-printing the image onto the clayThe 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 may be carried out with another screen depending on the required finished design. Forming the bowlThe printed clay is cut to size and is placed – design side down – over the plaster mould.Gradually, the clay is smoothed over the mould to form the bowl using a rubber kidney.Surplus clay is trimmed off and the edges are smoothed; it is then left to become firm.When the bowl is leather-hard, it is removed from the mould and left to dry.It is then bisque fired to 1000°C, fired again to 1250°C and polished with silicone carbide paper. |
Recipe Details
| 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
Steven Allen
