Overglaze.info

“Floating in Circles”

For the last 16 years I have been researching the work of the Austrian artist Gustav Klimt. Klimt’s use of colour, precious metals and jewels to enhance his preoccupation with the pre-eminent female form in his richly patterned stylized paintings, exudes a sensuality that I endeavour to capture through the use of finely thrown porcellaneous forms decorated with lustre and precious metals. Form has always been my motivation. Initially it was the pure form of the 3 dimensional object enhanced by decorative elements. This has now grown to encompass the inner and outer space of the object whereby the decorative elements are used to transport the viewer into the inner space of the vessel their imagination and through the object’s perceived preciousness and iconic nature. Though based on everyday forms I have taken my vessels into the realm of ceremony and ritual by using more precious materials and higher levels of skill.

In order to do this I have had to get my head around the Overglaze techniques used by both Industry and Porcelain Painters/China Painters.  I come to this from a Clayworker’s background where water is the medium used both in forming and decorating,  I tend to reinterpret this information to the needs of ceramists/clayworkers rather than decorators. It has always been my goal through this blog to reacquaint ceramists/clayworkers/potters/sculptors(or whatever we label ourselves as) with a process that was in evidence in China as early as the 13 century.  The Overglaze process developed here as part of the ceramic continuum.

Lustres, however, were first in evidence on glass in Egypt in the 4th century.  By the 9th century lustre was being used on ceramics. This is what we know as Reduced lustre/Persian lustre, the names both describing the process and the origin.  Due to time constraints I chose to work with Resinate lustre which is Industry’s more reliable interpretation of lustre,  despite it not having the same depth and subtle nuances of the Reduced Lustre.  This trade off meant I was working with a solvent and oil based material, instead of water based.  However I have adapted my working techniques accordingly to minimize the time spent, and the contact with, the lustre.

Recently I was invited to write an article on my working methods for The Journal of Australian Ceramics. This can be found Volume 49#1, April 2010.

Click here for published version

The transcript follows below:

“See My Scales Where My Feathers Used to Be” 2009, Southern Ice porcelain, clear glaze, lustre, gold, sand etched, enamel, h. 10.5cm, d. 8.5cm

Working with Resinate Lustres.

In his seminal volume “Ceramic Colours and Pottery Decoration” Kenneth Shaw postulates that lustres are extremely thin films of metals deposited on the surface of ware in the same way as Noble metals and that the lustre effect is due to the interference of incident and reflected light. He further states that lustres are made up of solutions and suspensions of metallic resinates in solutions of polymers and thickening agents to aid application by brush and machine. The colours are due to metallic oxide films bonded onto the glazed surface by bismuth oxide which must be fired to a low temperature otherwise the flux would burn out.

This is the world of lustre that I work within. This is the same lustre film as produced by “Reduced Lustre” or “ Arabian Lustre” The main difference is the method of application and firing technique employed. Whereas reduced lustres are either clay paste or water based and fired in a reducing atmosphere, resinate lustres are oil/resin based and fired in an oxidizing atmosphere. The localized reduction is performed by the carbon produced from the resin (usually pine oil) base. Resinate lustres are a product of the ceramic industry as application and controlled firings were standardized for mass production. Resinate lustres are also known as ‘Oxidation’ or ‘Commercial Lustres’. This thin film of metal then dictates the way in which I work..

Surface
Lustre takes on the surface qualities of the ware that it is applied to. Surfaces with gloss glazes will be shiny, matt glazes will be satiny matt, vitrified bisque will be very matt. As the lustre bonds at the softening temperatures of the substrata, there is a wide firing range to encompass glass, earthenware, bone china, stoneware, hard and soft porcelain (this refers to the glaze types used). Using a medium to hard glaze on my porcelain I fire to 810.c. Some hard glazed porcelains successfully fire at 850.c

Lustre is oil based so that it will adhere to a glossy surface. However the surface has to be scrupulously clean. Any grease, sweat and oils from the skin, lint and dust will repel the adhesion of the lustre. There are 2 methods I use for cleaning the surface of the ware. I mainly use methylated spirits but there are certain brands which will actually leave a film on the glaze and repel the lustre. If this happens I either put the ware through the dishwasher (I use white vinegar as my rinse aid) or use detergent and very hot water until the water sheets off the pot. It is then dried with a lint free cloth and I have no further skin contact with the pot. I use cotton gloves or towel and put the pot onto my decorating easel (see The Journal of Australian Ceramics , 48/2, page 55).

Application
When applied, all lustres appear a treacly brown with their colour being achieved in the firing process. So I can visualize what I am doing while working, I have made permanent colour charts for each glaze that I use. This is simply a test tile with lustre brushstrokes (labelled), fired and then repeated on the tile turned 90 degrees and fired again. This provides me with a readout of one and two layers of lustre plus many variations of colours when lustre is applied over lustre.

Lustres can be applied by brush, sponge and stamping. Some people advocate airbrushing however this is something I would never contemplate as lustres are based on organic solvents. I use German squirrel hair flat shaders, mainly size10 (the old 3/8′ size). As my technique employs broad areas of lustre, I lay down the lustre in long quick strokes taking care not to overlap drying areas as otherwise these would be more intense in colour. If I wanted a very even surface I would lightly pad or pounce the brushed on lustre with a small sponge or cotton ball wrapped in a square of silk held tight with a rubber band. This will even out the brush strokes but will also lighten the lustre considerably as you are pulling off excess lustre. If I get lustre on my skin I immediately remove it with meths as I am conscious of the fact that the skin is the largest organ of the body and absorbs toxins very efficiently. I use multiple layers of lustre, firing between each layer.

Keep lustre brushes only for lustre as other mediums will contaminate the brushes. To clean them, part fill two small glass jars with lustre essence, (I prefer citrus solvent) and one jar with methylated spirits. Swish brush in first bottle, blot on tissue, then swish in the second bottle of lustre essence and blot again, then swish in the meths bottle and blot. Finally work Morning Fresh detergent into bristles and rinse exceedingly well under warm running water. Blot on tissue and dry flat.

Technique
At present I am exploring two processes – resist and etching.  This focus will be on the resist technique which I use so as to limit my exposure to lustre; 90% of my time with lustre is spent in applying inert resist and only 10% in actually applying the lustre.

Most resists, apart from waxes, will work as lustre resist. Latex, white poster paint, adhesive tapes, masking laquers, stickers, white-out pens, and proprietary lustre resists can all be used.  I prefer to use Fay Good’s black lustre resist as this resist can survive several firings without having to be cleaned off and reapplied – essential for the way I work. The attached storyboard illustrates my method.

1. Plate has been fired with one coat of Mother of Pearl

2. Outline drawn in water-based OHP pen.

3. Drawn with black resist using tjanting.

4. Lustre applied as follows: mountains purple, fields yellow, water light blue.

5. Fired plate, resist removed.

6. Resist reapplied everywhere except the water area; another layer of lustre applied.

7. Second firing, resist left on.

8. Resist patterning applied to mountains and fields; mountains coated with gold, fields with cinnamon; gold penwork over water.

9. Third firing; resist removed with Jiff.

10. Detail of patterned layers.

11. Tools used: 2/8 inch and 1/2 inch squirrel flat shaders; tjanting for resist; gold pen for penwork.

I sketch my drawing onto the glazed surface with a non permanent black OHP pen. I then go over this adding detail with a Tjanting filled with the black lustre resist that I have adjusted to flow through the tip. When the resist is dry I apply an even layer of lustre in the areas required just the same as for any other painting technique. I then fire to 810.c in approximately 5 hours. I don’t subscribe to the fast firing of china painters as I believe that all processes such as glaze softening takes time not just temperature. Also I never lose any pots due to cracking.

After the first firing I continue adding layers of lustre to deepen the colour, firing between each layer. As well I add further resist to help the layering effect that I am after. After the final lustre layering, I will either add penwork with a gold pen, or use raised enamel for accent. I remove the resist by gently cleaning the surface with Jiff. Do not use Ajax or any other abrasive cleaner as it will scratch the surface.

Health and Safety
When working with lustres I take the issue of H&S very seriously. Please read this article in conjunction “Health and Safety and Overglaze”  The Journal of Australian Ceramics, 45/3, page 91-94. This article is also available on my website http://overglaze.info

Recommended Reading
Lustre for China Painters and Potters: Heather Taylor, 1990, Kangaroo Press
China Paint and Overglaze : Paul Lewing, 2007, The American Ceramic Society.
Ceramic Colours and Pottery Decoration: Kenneth Shaw, 1969, Frederick A Praeger,Inc
Resist and Masking Techniques: Peter Beard, 1996, A&C Black/Craftsman House
Health and Safety and Overglaze: Johanna DeMaine, 2006, The Journal of Australian Ceramics, pp91-94, Vol 45/3

Johanna DeMaine
+61 7 54941458
E: johanna@demaine.org
http://johanna.demaine.org
http://overglaze.info

Spring

My work in Overglaze to date has concentrated on the use of Lustres.  I first encountered lustres during my Research on Ornamentation and Decoration 16 years ago for my Graduate diploma in Visual Arts.  I was influenced heavily by my fascination for the work of Austrian artist, Gustav Klimt.   In 2003 I presented a paper at the National Ceramics Conference in Bendigo, Vic, Australia called “Overglaze: Challenging the Myths”.  In that I spoke about my work as;

My aesthetic embraces the work of Gustav Klimt, concepts of atmospheric perspective inherent in Chinese landscape ink painting, sensuality, cultural dichotomy, and the elevation of objects from everyday to ceremonial. I have taken my vessels into the realm of ceremony and ritual by using more precious materials and higher levels of skill. I now make pots with volume that are richly patchworked with colours and lustres. As a sensualist I believe that the object itself is pre-eminent, not its implication. The reinterpretation of classical forms, whilst building up my own vocabulary of imagery and relationship of pattern to form, allows me to realise this. I aim for the overall effect of surface patterning combined with the integration of form to create a dialogue through visual stimulation. This has necessitated the use of decorating techniques, which have allowed a very fine degree of control.

I started working with overglaze in 1992-3. I first used lustre when I was completing a graduate diploma in Visual Arts with Owen Rye at Gippsland. I became intrigued with the possibilities of this medium and continued my research with an MFA at QUT, Brisbane and then continued to develop my own style. In 2001 I undertook a 10 week Churchill Fellowship research project on health and safety issues involved with Overglaze as well as the problems encountered in intensive hand decorating techniques. This has allowed me to further extend my work with lustres as well as working with enamels and investigating the making of decals. At this point in time, I have started to investigate how sandblasting together with the use of a computer controlled plotter/cutter can help to further achieve my aims.

On re-evaluating this statement I realize that my intent is still the same and that my efforts in understanding the Health and Safety involved in Overglaze have intensified.   To this end I was invited to write an article on Health and Safety and Overglaze.  This was published in the Journal of Australian Ceramics, November 2006.    This will now be filed under Health and Safety and Library.

Click here for published version

Health and Safety and Overglaze (in particular lustres)

Health and safety in ceramics is always an emotive issue and I am well aware that it is up to the individual to become acquainted with the potential hazards and the risks associated with the materials and work methods employed.   Ultimately we all have to take responsibility for our own actions.  For the purposes of this article I will concentrate on the Overglaze techniques which use lustres, precious metal preparations, enamels (commonly referred to as China paints) and decals.  These techniques all require inorganic powders to be dispersed in a liquid and then fixed onto the glazed surface.  Organic additives are widely used in the ceramics industry to adapt products to special needs.

The organic additives for ceramic and glass decoration are called oils or media and can be based on different solvents: water, water soluble glycols and glycol ethers, paraffines, esters, aromatic solvents or terpenes from natural sources. Usually mixtures of solvents with different polarity and drying speed are used. Types of organic additives are listed below.

• Solvents
• Softeners (Phthalates, Dioles, Glycolic ethers and ether acetates)
• Liquifiers (Lecithines, Salts of polycarboxylic acids)
• Suspending agents (cellulose ethers)
• Fixatives (Cellulose ethers, Acrylic resins)
• Defoamers (Silicones)
• Preservatives (Amides, Isothiazolones)

Lustres are precious metal based organic compounds dissolved in a solvent base and combined with resins. Gold and platinum consist of precious metal containing organic compounds combined with other organo-metallic fluxes and resins.  The main solvent classifications are listed as:

• Aromatic hydrocarbons
• Hydrocarbons with low content of aromates
• Hydrotreated aromatic hydrocarbons (tetraline)
• Alcoholes and ketones (propanoles, butanoles, butanones and diacetone alcohol)
• Terpenes (turpentine oil and etheric oils)

Lustres can contain all or some of the following in varying proportions as the varying lustre colours all have different formulas.

• Turpentine
• O-dichlorobenzene
• Cyclohexanol
• Cyclohexanone
• Methyl cyclohexanol
• Di-iso-octylphthalate
• Camphor
• White spirit
• Xyleone
• Tetrahydronaphthalene
• Isophorone
• Tetrahydrofurfuryl alcohol

The hazard presented by a substance is its potential to cause harm.  The risk from a substance to cause harm depends on the hazard presented by the substance, how it is used, how exposure is controlled, how much of the substance you are exposed to and for how long and how vulnerable you are. Finding out precisely which of the solvents have been utilized is not easily done, as there is a degree of secrecy within the industry. So it is best to assume the worst case scenario. This has to take into account the health risks associated with a high concentration of noxious fumes, their flammable nature as well as being irritants to eyes, skin and respiratory tract.

The noxious fumes are present during both application and firing.  To overcome the inhalation of fumes, ventilation is the key. The dictionary defines ventilation as the operation and equipment involved in supplying confined spaces with the necessary quantity of fresh air.  Toxic substances are unstable, poisonous compounds produced by micro-organisms and these toxins can enter the body through skin absorption, ingestion and inhalation. Though some of the materials that produce these toxins are essential to the creation of ceramics, it is not necessary to stop working with them to remain healthy.  However it does mean that a raised awareness and new work habits are essential. Put simply ventilation means that air is sucked out of the workplace and is replaced with fresh air.  How do you know then if your ventilation is adequate?  If you are slightly short of breath or have a headache at the end of the work session, the ventilation is definitely inadequate.

The options available can be discussed under the following headings

• Substitute materials/work practices
• Dilution ventilation
• Local ventilation
• Personal ventilation

Unfortunately lustres contain solvents and there is no safe way around this apart from switching to reduced lustres.  Dilution ventilation means having windows open and a fan drawing the fumes away from the workplace.  This is satisfactory if only small amounts of lustre are being used.   Local ventilation means a booth constructed over the workplace drawing the fumes away. Personal ventilation is the use of a respirator while working.

My method of protection from fumes is as follows.   I use a fume booth constructed by my husband together with a respirator while I have developed a method of working that limits my exposure to the hazards involved.  I use a resist method whereby I estimate that 90% of my time is spent using lustre resist which is quite inert. The other 10% is the actual application of the lustre, as all the fine lines apart from some gold pen work is achieved by resist. I am confident that I am limiting my exposure to lustre.

As well as this I wear a respirator.  It is a Norton brand 7700 series silicone half face mask model with 2 N7500-1 organic vapour cartridges.  It is extremely comfortable to wear despite the fact that I wear glasses. These cartridges are not suitable for clay dust etc.  For that you need a particulate filter.  However it is not enough to just wear the respirator.  It must be maintained.  When you have finished using it the inside must be wiped and then the whole lot stored in a sealed (clip lock) bag).  This extends the life of the cartridges and keeps dust out.  The cartridges need to be replaced when fumes can be smelled through the respirator. Norton has recently been taken over by North Safety Products. A web link to view is http://www.westernsafety.com/newnorthrespirators/newnorth1.html

The fume booth is constructed of acrylic sheeting with aluminium tube corners.  It is the size of my worktable and a mistral MWA200P wall exhaust fan removes the air at 167litres per second.

I am extremely careful about getting lustre onto my skin.  If this happens I remove it immediately with methylated spirits. So skin absorption is a non event.  Ingestion is out of the question as I follow the following safe work practices: do not bite fingernails, put brushes in your mouth, eat, drink or smoke while working.  Neither food nor drink comes into my decorating workplace.  Noxious fumes are present as well in the firing of lustres as the media in the lustres burns out.  Up to 450.C I do not go into the kiln shed without a respirator. This can be very damaging to the lungs. Under no circumstances should kilns be placed inside a dwelling.  For enamels I have overcome any health risks by simply making a water-based medium for my use.

This article is not meant to discourage the use of overglaze.  Rather it is written in the spirit of raising awareness.  Knowledge is a powerful tool and by taking responsibility for ourselves and our actions we empower ourselves. By becoming responsible we can work within a potentially hazardous environment in a very safe manner and enjoy our ceramic pursuits.

References

• Safe and best work practices employed in industry, for the hand painted decoration of porcelain and ceramics Johanna De Maine, Churchill Fellowship Report http://johanna.demaine.org or http://www.churchilltrust.com.au/res/File/Fellow_Reports/Demaine%20Johanna%20%202001.pdf
• Ceramic Decorating materials: Aspects of Product Stewardship, 1998: ANFFECC, CERAMICOLOR, EPSOM, VdMi.
• Solutions for common Health and safety Issues in the Ceramic Studio. Jeff Zamek. http://www.craftsreport.com/jnauary01/studioissues.html
• Hazards in Ceramics http://www.goshen.edu/art/DeptPgs/Hazards.html
• Health, safety and Environment Induction booklet. Royal Doulton Health, Safety and Environment Department, September 1998, Minton House, Stoke-on-Trent, ST4 7QD, UK
• Maintaining a Healthy safe Studio http://www.danielsmith.com/leaflet-safe-studio.html

Recently an image of my decorating workspace  appeared in the Journal of Australian Ceramics, 48#2, July 2009.  This part of the image caused quite a bit of interest at the recent Australian Ceramics Triennale where I demonstrated some of my working methods.  Of interest was my decorating easel.

My scaled down decorating easel.

During my Churchill Fellowship research on Health and Safety and Overglaze decorating I became aware that ergonomic considerations had to be dealt with.  I was interested in the  various devices that were used in industry but unfortunately not practical for the studio artist.   Not long after,  I developed Tennis Elbow in my left arm from supporting  my work while decorating.  I remembered having seen a decorating easel manufactured by Scotts Creek Pottery advertised in Ceramics Monthly.    I soon realized that these were no longer being made.

Further investigation led me to two conclusions.  The original designs for this decorating easel came from  Spanish/Portuguese traditional ceramic practices and that there were detailed photographs/plans available on the internet.  Nan Hamilton generously uploaded the details here.    A friend made me a scaled version from this image.

Nan Hamilton's decorating easel.

This post is now filed under Health and Safety and Techniques

I came across this site CeramicDecals.org while googling.  This is a very comprehensive well laid site detailing the vast array of decal types that are available.

In a previous post I made reference to Justin Rothshank’s video on Ceramic Arts Daily July 25, 2008 about laser decal application.  I have now found Justin’s website where he has a copy of the article “Breaking the Rules: Pushing the Limits with Ceramic Decals” that he wrote for the March/April 2008 issue of Pottery Making Illustrated Magazine.  Click here for the full article.  I particularly admire the way Justin is willing to experiment and push the limits.

Another link is that of Linda Arbuckle, professor at University of Florida School of Art and Art History. Linda has a very generous listing of handouts on her site, this being one of them.  Click here for the full version.

In 2001 I was fortunate to be the recipient of  Winston Churchill Fellowship which enabled me undertake a 10 research project “To study workplace health and safety issues together with the resultant working methods employed in industry, for the hand painted decoration of porcelain and ceramics” One of the outcomes of this research was the report that is published on the Churchill Foundation website.  I have now entered this in the Blog under both Library and a new page Health&Safety.

Health& Safety has always been very important to me as I am very aware of the nature of the materials I am working with.  However I have always tempered my research with a high degree of common sense as all too often I have seen people over react to their situation.  To this end I will keep adding articles progressively to this new page.

Today I have set up a page for Overglaze decorating techniques.  I hope over a period of time to put together a collection of articles  which reference  links to videos and articles gathered from other websites.  The first of these is an article from Ceramic Arts Daily, published July 23, 2008 titled “The Details on Decal Paper for Ceramics” by Paul Andrew Wandless. Paul is the author of Image Transfer on Clay published by Lark Books.  In the future I will add this book to the Library Page.  Paul is also a contributor to Clay Prints, image transfer and Clay set up by Charlie Cummings at http://clayprints.ning.com/

The next item is once again courtesy of Ceramic Arts Daily July 25, 2008.  This has been located in Techniques/Laser Decals.

Justin Rothshank: Applying Decals to Glazed Pottery and Ceramics In this video, Justin Rothshank, of the Union Project in Pittsburgh, Pennsylvania, demonstrates how to make custom decals on a laser printer and apply them to glazed ceramic forms.

Starting this Blog has actually been a bit of an ordeal.  I have agonized since posting the ABOUT page in September 2008 as to what form this Blog should take.  However the time has come to stop procrastinating and just do it.  To kick this off I am posting an article I wrote that was published in Ceramics TECHNICAL: 2005/21

My background is that of a ceramicist working in wheelthrown porcelain who discovered Overglaze while completing post graduate studies in 1993. I was so inspired by the paintings of Austrian artist Gustav Klimt that I set out to learn as much as I could about Overglaze so that my work would have the same richness and feeling as Klimt’s paintings.  I soon came to the realization that most of the available information was aimed at the Porcelain Painting fraternity.  This Blog then is attempt to share this knowledge I have accumulated from the perspective of a potter. As well as this will I hope that it will provide an insight into my passion for Overglaze.

Overglaze: Challenging the Myths.

Introduction

“There is prose and there is poetry. In pottery there seems to remain a possibility for providing both, sometimes in the same object. Pottery can be about design or about art, and occasionally both. Pots succeed because they move the spirit, like art, or they exactly fill a requirement, like design. That one discipline can straddle both areas with dual emphasis is distinctive.” (Dormer: 1994, p.7)

For reasons best known to ceramists themselves, the realm of Overglaze has been neglected or even at its extreme, derided as a valid means of expression/decoration for the craft/artist potter. In the past, we, as ceramists, have been concerned with the approach fostered by the Arts and Crafts Movement together with the Leach Tradition. Yet I believe we have neglected the technique of overglaze decoration as a valid and enduring element of the whole ceramic process, despite it being an integral part of the character of Oriental and Islamic ceramics for the last 1000 years, through the marriage of form and surface. This ignorance and perhaps fear of the process has seen Overglaze unceremoniously dumped into the area known as China or Porcelain painting and all the angst which that conjures up. I feel that this unfortunate terminology has contributed to the view that Overglaze is not relevant to clay workers.

However, as with all things in today’s fast changing society, the parameters within which ceramics operate, are in a state of flux. The newer and younger emerging ceramists within our midst have had the good fortune to be exposed to a wider range of techniques and mind-sets allowing for more lateral thought to be nurtured. Nevertheless, I feel Overglaze is now associated more with the industrialization of ceramics and still treated with fear and misunderstanding by a large percentage of practitioners. Words such as screen-printed decals, computer generated images, solvents, oils etc all contribute to the mental block many ceramists seem to have towards Overglaze.

My aim is to provide a framework of understanding for ceramists so that Overglaze can be accepted as a valid technique within our craft/art, whatever our influences. I propose to do this by defining the parameters of Overglaze and other relevant terminology, locating Overglaze within a historical context, examining the different methods of Overglaze with reference to other ceramists, and offering my rationale and working methods within the realm of Overglaze. This will be accompanied by images gathered during my Churchill Fellowship research. Most of all I wish to share my passion for Overglaze.

Some Definitions

For the purposes of this article I use the word “overglaze” to embrace the whole spectrum of techniques that may be utilized on top of a vitrified glaze surface (i.e. after the claywork has been glaze fired). This takes into consideration the additive techniques of Persian or reduced lustres, Resinate lustres, gilding and other precious metals, overglaze colours and enamels, decals, added texture (eg pastes, fibreglass, and glass beads), low-fired glazes as well as the subtractive techniques of etching and sandblasting. The word “onglaze” is often used in literature to refer to the overglaze enamels and colours popularly known as China or Porcelain paints and will not be used here. However I prefer to correctly classify these as overglaze techniques. Maiolica is often referred to as onglaze but it is technically an inglaze technique as it is applied on top of an unfired glaze. Therefore it is not included within the range of overglaze techniques. As a matter of interest the word enamel comes from the French word for glaze.

Historical Context

The history of Overglaze is inextricably linked to the development of decoration on a ceramic surface and the discovery of porcelain. Decoration (ornamentation; embellishment) lives deep within the history of mankind. It has been well documented that the first manifestations of paintings appeared on cave walls in the Western Mediterranean some 35,000 years ago. It is reasonable, therefore, to assume that mark making on the clay surface quite possibly predates clay’s use as a material for making pots and from those earliest days of pot and (tile) making, artists have painted on the clay’s surface.

Advancements in ceramic history can be traced back to the refinements in the ceramic surface for decorating (this can be read as whiteness) as well as the development of the high temperature kilns. It is coincidental that white clay bodies and high temperature kilns were both developed in China. The desire to emulate the white surfaces of the Chinese porcelain at a lower temperature led to the development of an opaque low firing tin glaze in the Middle East. The tin glaze provided a stable ground for the use of lustres and onglaze colours. Lustres, the oxides of precious metals, were first used on glass in Egypt and Syria in the 8th. By the 9th century luster was being used on ceramics in Iraq. The decoration used was either calligraphic or from nature (if it was semi abstracted). Overglaze enamels were developed to obtain a wide-ranging palette, which did not burn out as some of the metallic oxides did over 1000.c when used as underglaze. Simplistically, enamels are extremely low firing glazes applied over a vitrified glaze. The firing is usually between 750-850.c.

Overglaze enamels can be traced back to Minai ware in the Islamic world during the 11th century. This technique was referred to as Minai (glaze) or haft rang (seven i.e. reference to the many different colours used in this new overglaze decoration) as well as the Polychrome wares of the T’ang Dynasty in the 12th century. This expertise then reappeared on Chinese porcelain in the late 17th and early 18th centuries. Here it became known as Famille Verte and Famille Rose, named after the dominant colours in the palette. Famille Verte centred on the mainly transparent colours of aubergine, blue, yellow, green, and on opaque black and iron red. The Famille Rose palette focussed on a colloidal gold-based rose pink and opaque white and opaque yellow, facilitating the blending of pastel colours. At the same time the Japanese Imari and Polychrome wares were being developed. The influence of these colours was such that by 1749 the French Vincennes factory (later to become Sevres) had a palette of 60 colours.

“Qing dynasty famille verte enamelled vase”

It has been recorded that Overglaze was initially used in Europe to hide small imperfections in the glaze surface. The home-based ceramics industry virtually died out in the western World after the establishment of the porcelain factories from the 17th century onwards, to cater for the demand for the new, fine, white, highly decorated and brightly coloured tableware. With this fine white, extensively decorated porcelain being destined for the upper classes in Europe the new porcelain manufactories soon came under Royal patronage. (Eg Sevres, Limoge, Meissen, Royal Copenhagen) Subsequently a wider range of decorating techniques developed including direct and indirect printing techniques, gilding, etching, texture pastes, decals to name a few).

Industrialization of the ceramics industry was the catalyst for many techniques that were specifically orientated towards producing a superior product with minimal loss of time. This included the overglaze decorating techniques and the materials used in their preparation. Solvents and mediums were introduced to speed up drying time and give more consistent results. The traditional waterbased mediums gave way to oils. However in China and Japan the mediums continued to be water based eg green tea, seaweed, etc.

Overglaze and the Contemporary Pot

“… the contemporary ceramics ’scene’ is a product of the western visual arts economy.” (Scott: 2000, p.11)

Art vocabulary today is often inadequate and misleading when discussing ceramics. Ruff argues that “contemporary vessel makers are called traditionalists; yet it is the potters who have defied Western art history (tradition) by refusing to yield to the traditional, elitist hierarchy of media by which Western art is conventionally defined and judged” and that “Today there is a kind of coexistence in the ceramics world between the “traditionalism” of the vessel aesthetic and the outreach of clay to the pluralism of contemporary art in general.” (1983, p.27)

In terms of ceramics, modernist aesthetic ideology is concurrently rooted in the ambition of those who wish to free ceramics from the restraints of the past, and those who wish to create an independent movement based on the unique qualities of the medium and its tradition. In fact ceramics today can be seen both as an integral component of a diverse art community and as a tradition apart from the mainstream. Ruff argues that clay is always about itself, yet it is one of the most successful mimics in art and this could account for the schizophrenic condition, which lies in the duality inherent in the medium and the peculiar evolution of modern ceramics.

Contemporary ceramics can be seen as the coexistence of the mass of iconoclastic styles, which come under the umbrella of ceramic sculpture and a resurgence of vessel making which has allowed those who are disillusioned with the modernist constraints to keep the direction vital Ceramics becomes one means of renewing their connection to the sources of creativity. Rampant pluralism and eclecticism are the hallmarks of contemporary Ceramics. Reinvention and recreation are part the contemporary ceramist’s toolbox.

Within the UK the diversity of claywork ranges between the extremes of the traditional slipware and contemporary sculpture. On the whole the small percentage of ceramists using Overglaze techniques tends to be vessel orientated and use more traditional techniques. Sutton Taylor and Alan Caiger-Smith both use reduced lustres. Whilst Caiger-Smith employs sensuous brushwork reminiscent of Islamic culture, Sutton Taylor concentrates on juxtaposing the lustrous colours to create visual textures. On the other hand Mary Rich uses resinate lustres, predominantly gold, to meticulously decorate her work. Jane Osborne-Smith and Russel Coates both use overglaze colours. Russel Coates uses the traditional overglaze enamel techniques he learnt while working in Japan to create his work which also shows influences of Islamic ornament. Osborne-Smith uses overglaze colours as a means to provide the delicate penwork that defines her work.

Russell Coates: Porcelain platter, overglaze enamels

Meanwhile, the Émigré influence on American ceramics (eg Gertrude and Otto Nazzler, Ruth Duckworth), together with the American belief in itself and its contribution to the world art scene, has ensured that

“Studio pottery is currently more exuberant, more experimental, and sometimes more anarchic than ever before. At the same time it is also conservative and a guarantor of decorative tradition. The tension between these extremes, together with the diversity of the work along the way, gives contemporary ceramics its special flavour and interest.“(Dormer: 1994, p.12)

This has led to greater involvement with Overglaze within the realm of the studio potter as more experimental approaches have been undertaken. Adrian Saxe, Ralph Bacerra, Ron Nagle and Margaret Ford use overglaze enamels and colours to enhance their predominantly sculptural forms. However Lana Wilson draws on the methods first seen during the T’ang dynasty of using lower fired glazes over a vitrified high firing glaze. Wilson initially glaze fires at 1220.c and then applies other glazes, which mature around 1040.c to achieve the textures that identify her work. Thomas Orr uses multiple firings of cone 06, 01, 04, 06, 06 to achieve his textured surfaces. John W Hopkins uses both sandblasting and overglaze colours to inform his work whilst Rimas Vis Girdas is presently using decals, which he makes himself from overglaze colours.

Ralph Bacerra: Earthenware, overglaze colours, lustres

In Australia, Alan Peascod is the best known of our overglaze artists for his research into Persian lustre. Bob Connery uses flowing brushwork with reduced lustre on traditional wheel thrown forms. Gary Bish has meticulous control of overglaze colours as well as the decals that he generates himself. Marianne Cole uses raise enamel dotting on predominantly black/brown tenmokus with gold pen work on her bowl form while Greg Daly has explored the areas of gold and silver leaf together acid etching, and formulating his own resinate lustres. Lustres and gilding are used by Stephen Bowers.

Bob Connery: Bowl, reduced lustre

My Work

My aesthetic embraces the work of Gustav Klimt, concepts of atmospheric perspective inherent in Chinese landscape ink painting, sensuality, cultural dichotomy, and the elevation of objects from everyday to ceremonial. I have taken my vessels into the realm of ceremony and ritual by using more precious materials and higher levels of skill. I now make pots with volume that are richly patchworked with colours and lustres. As a sensualist I believe that the object itself is pre-eminent, not its implication. The reinterpretation of classical forms, whilst building up my own vocabulary of imagery and relationship of pattern to form, allows me to realise this. I aim for the overall effect of surface patterning combined with the integration of form to create a dialogue through visual stimulation. This has necessitated the use of decorating techniques, which have allowed a very fine degree of control.

I started working with overglaze in 1992-3. I first used lustre when I was completing a graduate diploma in Visual Arts with Owen Rye at Gippsland. I became intrigued with the possibilities of this medium and continued my research with an MFA at QUT, Brisbane and then continued to develop my own style. In 2001 I undertook a 10 week Churchill Fellowship research project on health and safety issues involved with Overglaze as well as the problems encountered in intensive hand decorating techniques. This has allowed me to further extend my work with lustres as well as working with enamels and investigating the making of decals. At this point in time, I have started to investigate how sandblasting together with the use of a computer controlled plotter/cutter can help to further achieve my aims.

There are many hazardous materials used in some of the overglaze techniques. Unfortunately lustres contain solvents and I found no way around this apart from switching to reduced lustres. Maybe that lies in the future if I can work out how to transfer my present working methods across. Apart from observing all the Health and Safety advice that I researched which included the construction of a fume booth, I have developed a way of working that limits my exposure to the hazards involved.

My work is built up of layers of lustre, which have to be fired in between each application. After drawing my images on the pot with a permanent OHP pen, I draw over these lines with lustre resist using a tjanting. This allows for a great degree of control. I often refer to my technique as batik on clay. I then block in with lustre and fire to 800.c. The ensuing layers are all built up in the same manner. Actually I would estimate that 90% of my time is spent using lustre resist which is quite inert. The other 10% is the actual application of the lustre, as all the fine lines apart from some gold pen work is achieved by resist. As I usually end up firing each piece between 10-20 times for overglaze depending on the size and complexity of the piece, I am confident that I am limiting my exposure to lustre.

Recently, I have started combining the lustres with enamels in the final firing. I have always been wary of the oils and turpentine used for mediums as well as the solvents used for cleaning up the enamels. With this in mind I researched the methods that were employed originally in China and still used by studio potters in Japan. Whilst in the UK I spoke with Russell Coates and found that he is still using green tea as a medium. In other words he is still using water-based mediums. Keeping in mind that I needed something to make the enamel/colour adhere to the glaze as well as something else to make it flow, I have experimented with many concoctions. At present I am getting good results for raised enamel with gums and glycerine. I now look forward to integrating the sandblasting into my overall work. For me the challenge of the next step keeps my work progressing.

Johanna DeMaine 2006: Reflections on Life

Bibliography

De Maine, J. 2002, adapted from “Overglaze: Challenging the Myths” paper presented at National Ceramics Conference, Bendigo.

Dormer, P. 1994, “The New Ceramics; Trends and Traditions” Thames and Hudson, London

Medley, M. 1980, “The Chinese Potter” Phaidon Press, Oxford.

Ruff, D. 1983,“Towards a Post-modern Pottery”. Ceramics Monthly, vol. 31, no.7, pp.27 & 104.

Scott, P. 2000. “Painted Clay; Graphic Arts and the Ceramic Surface” A&C Black, London

Wood, N. 1999, “Chinese Glazes; Their origins, Chemistry and Recreation” G+B Arts International, London.

Johanna DeMaine
http://johanna.demaine.org

Johanna DeMaine 2008: “Coming Home”

Welcome to “Overglaze.info”

I am a potter/ceramic artist based in Landsborough, Qld, Australia.  My studio gallery is located in the hinterland of the Sunshine Coast amongst the Glasshouse Mountains which feature prominently in my work.

My work can be seen as iconic in that it celebrates the ritualistic and raises the object above the everyday.  Though based on everyday forms I have taken my vessels into the realm of ceremony and ritual by using more precious materials and higher levels of skill.  I pay homage to the beauty of my environment by portraying nature’s icons: the Glasshouse Mountains.  In my work I endeavour to interpret the feeling of the mountains floating eternally like ships through space and time bridging two cultures and thereby creating our unique Australian culture.  To see more of my work click here