Painting on Porcelain: Traditional and Contemporary Designs

Traditional and ... contemporary designs

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Annick Perret

Painting on Porcelain

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Annick Perret

traditional and contemporary designs 1lunslated by Malcdm Wilh£U

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SEARCH PRESS

Contents Introduction

6

People

63

Materials, equipment and techniques

7

Religious themes

73

Flowers and leaves

13

Stylised designs

81

Birds and beasts

41

Glossary and index

94

Introduction

Painting on porcelain is an art fonn which has always fascinated me. There really are so many possibilities, from plates and teapots to trinket-boxes and 8weetdishes, and over the twenty-five yean I have been painting on porcelain I have proba bly tried most of them! I also decided to make a special study ofpon:elain plaques, 10 as not to be tied to the shape of an object..

These plaques are geueraJ.ly smaU and modem, lletoff by II earefuUy ehosen border in a compl ementary colour. The bird, and floral paintings an! inspired byantique porcelain and earthenware. These pattel'llll hllve been interpreted and painted in watercolourt after studies made when visiting variou.s European museums. They will help painters - beginners or advanced - to getacquainted with thetechniqueof relief and sh:.. ding

of birds and !lowerB. Although many of my patterns have been iru pired by antique pieees in museums and private ooUed.ions, others are entirely the prod uct of my imagination. Inspiration comes from all quarters: people, nature. letters ort.he alphabet, early artists . .. and simply ou t of myown head. So mydesigns range from the strictJy traditional to the contemporary and abstract IOmething for eve!), taste. I hope the ideas in this book inspire you: the deaigna can be painted n ot only on porcelain but also en earthenware, wood, silk, fabric, or whatever $un!lce your imagination may suggest.. AnniGk Punt

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Publishers' note Ready ·prepared pai nt, In this book the author has ron<:entrnted on thee1as&c method of preparing colours, but you will find that there are also pre-prepared, r eady·to·use paint.. available, which are IOld in a compressed 'pastille' form and can be u,ed rather like waten:olours, using a mixWre ofhalfwater and half alcohol as a lIOlvenl. Most ofthese roloW1l can be milled, exceptfor thereds, pinks and oranges, and you will find that these paints dry quickly. You can abo find porcelain paintsin paste form, lIOld in pots, like gouache. If, however, you a re interested in creating purely decorative objecta which will not be used as tableware or be subjected to heat, there are now other options available. Cold ceramic painta, for example, come in liquid form, in a wide range of roloUfll which can be milted with one another. Theyrequireno special preparation or firing, and can be mixed with a colourless medium to increase their transparency. GIOllllY and durable, they d!)' in around t.hree houn. They are, however, notheat-rea.istantand should notbe used Oil anything which is to come into contact. with food. Y ouca.nalso getllOme lovelyeffects with transparent g1asa paints, or enamel painta. Please follow the manufacturers' instructions in all cases.

Materials, equipment and techniques Porcelain '1'bU bookdeaI. with thet.echniqueofon-(lazepainting. You should therefore buy plain white g\a1ed porcelai.n i r decorating. (Clean it with alcohol to ensu.re it is completely erease-free before you Btart painting on it., and be careful not to get greasy fingennarka on it .bile you are W1lrking.l There are alllOrts of different r;tylel and shapes available. Obviou.sly the decoration on an objectmulit. fitin with ita shape! Forexarnple, you could not paint aamternponuydesign on a traditional rocoilk teapot; on the other hand the shape ora modern teapot (such all 'Callpar, Me1chiorand Balthasar', on pare 78) lends it.se1fmore to fantasy . You can paint on ornamental objecta (this is the damc style), oron porcelain and earthenware plaques to be displayed on the wall.

Brnshes Choose very rood quality paintbrushes (brushes especially for paintinr on porcelain). These should be of pu.re sable or squirrel hair. I use the following brushes (numbered from left. to right in the picture). Slippier b rullb ee (1 ) TIlese are for filling in small areas. They are slightly bevelled, or sbBight.,and you wiUneed ~ra1 different W eB of them.

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Bn1Jibell (or colouring in (2) You. will need these for 611i nr in baclqroWlda. They are brushes with long, soft. hairs; you can al80 ute brushes of the fish-tail type. Cut liners (3 ) These have long, sloping hain, and art!u.sed for lining or banding with the aid of a turntable. Keep lOme brushes for preciD\lS metals and lOme for colours; you should never I1lU! the lIIlITIe bruah for both colours and gold.

Pointers (4 ) Theseareforgenera1 painting,srodingand shadowinr. You will need several 8i~es of these bru.ahes. Bn1Jih es (or o utlining (5 ) Very fine brushes are required for outlininr and shading flowen and the feathen ofbitds. You will need three siz.es: Noa. 00, 0, and 1.

Square s had el'll (6) You will need these for painting larger areas and for certain contemporary patterns.

Loog pointers (7 ) These brushes, with their lonr, pointed hain, are for detail W1lrk Md ror SQ'Ollinr. (I particularly like using these). You will need five size.. Everyone has hisown preferences for particular brusheS; just try them out and choose those that suit your own style of W1lrk. Cleani n g bn1Jib eil I clean my brushes with turpentine essence, and I impregnate the hain with an oil which . top. them going hard (carnation oil, for example). Ifthe hairs on a bI'llllh get too hard, I just sol\.en them up . lowly in turpentine. BI'lIlIhes last a long time if they are used and maintained carefully. It is better not t(J clean them in methylated spirit, M there is a risk of spoiling

the hairs.

Other equipTn£nt Agate burnishe r This is a small piece of agate mounted on a handle, used for burnishing gold. 7

Carnation o il prolongs the time a prepared colour ill W(Jrkable (it dries less quickly than oils ofspike lavender, aspic, cloves, etc,).

Methylated spirit You can use this forcleaningand degrea.smg porcelain and certain brushea used for lustre flDishea, but it is better to use special lustre thinners for the latter.

Divide", These will help you divide u p a plate, cup, etc., into

Palette You can get these with porcelain bowls (the lid of the palette is used f(}r preparing the coloun, and the bowls are to put the coloUl1l or prepared mix" in). You can also use white earthenware tiles for preparing colours and bying them out.

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Fat o il Fat oil ;1 thickened turpentine essence which il used for preparing coloWll. There is one available which driea ~ry slowly, just right fo r certain patterna.

Fibrcglass brush This is a special glass or fibreG:lass brush for polishing gold. Gla88 con tainerll or jam·ja ... You will need these for puUinG: turpentine in, cleaning brullhu and preparing coloWll, and to put gold in. Glap rod Thi, is for stirrinG: the gold before use and for stopping it aet.t.ling at the bottom of the boWe. Gold

1ba precious metal comet all a liquid solution. Bright gold contains about 12 per cent gold, and shines after flline; you can gehome interestinG: effects using it in certain patterns. When I make gilded pieces {cup handles, forexample}, I apply II coatofbright gold, flre it, and then recoat with ma tt32 per cent gold, which I burnish afWr the second firing. Matt or burnishinG: gold, as ita name sUG:gest.s, stays mattafterfiring. You can buy itas 24 per centor 32 per cent COld. Itmust be polished with agate, or polishing sand, or a fibreglass brush. I a lways use 32 per cent fine gold on my porcelain. Gold eraser This is used for rubbing off mistakes on the gold afWr firing. Gold thinners Uee these for cleaning brushe. which you have used for lold, and for d ilutin, ,old which is too thick . Gra phlte paper Uee special graphite poper for slipping under tracing pape r to reproduce your dra win g on to the porcelain. Kiln Ce ramic kilns for am ateu r u se are becomin, increasinglyeasy to fmd atspecialistoutlets, and they are very easy to Ulle for firin, your patterns. Medium This is a ready-prepared mix offatoil with other oils (it replaces the traditional minute ).

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Palette knivu These, which are essential, consist of a flexible steel blade mounted en a wooden handle, and are used for colour preparation (for grinding the paint I:l'8nuiesj. Penci l Buya Hpeciall ithop1lphic pencil, which is like a wu crayon made for drawingon porcelain or earthenware. The lines it makes will vanish completely after flting. Platinum This preciousmetal, when matt,iSW(Jrked and polished like burnishing gold (afWr firing). Bright platinum comes out of the kiln in a burnished slate. Scnoper Use this, or a rubbing-out knife, or toothpicb, for scraping colou r otTthe porcelain or correcting det.ai1a. Synthetic (oam pad You will need one for padding large area s of colour. Thinners These are for thinning precious metals. Trncing paper Trnci.ng paperil used fortransferringdrawinp tothe porcelain . Tunttable Also known as a banding wheel or whirler, this is a

circular revolving platform on which you centre your piece of porcelain to pain~ bands (6.1letsjorthin lines round it, using ,old or a colour. Hold your brush with a steady hand and touch the piece lightly with the brush while the turntable is going round - you will fmd , with practice, that the band will tum out absolutely regular. Turpentine eliliCDce Used for the preparation of colourB according to traditional and classic formulae, this is obtained by distilling ronifer resin . Vitrifying co lo u ... These are on-glate e namels, firing at temperature! between 680 and 820"C (1256 and IMl8°F). 0 use powdered coloul"ll of various makea}.

Colours You will find powder coloun (oD-glau coloun) of variOU8 makes. These, which are vitrifiable coloun specially formulated for working on glazed porcelain or earthenware (firing between 680 and 820"(: (1256 and 1508°F)), ~ metalo~decolourings which when milled with flux adhere to the porcelain glaze. N.B. You can abo buy ready-made pon:elaio paints -!lee the Introduction for more about them. Preparing th e colours I myself prepare colours ullinII' the classic method, foUowing the traditional fonn ula. Put MIme colour powder on the earthenware tile, mix it to II smooth, non-grainy paste with a very small amollDt of rectified tuJ"pent.ine eIIsence, add fat oil, and thenoneor twodrop.orcamation oil or oilofspike lavender (to stop the mixlun! drying too quickly). Work the minure well with the palette knife. Finls~

Apply the paint to the porcelain in thin transparent ooats, then carry out the first firing. Secornl stoge

Continue working, accentuating the shading, depth of eo1ours, etc. Fire II second time and, if Decewu')', a

thlrdtimeiftoudUn, up need!i to bedone.ltis bestto do several fmop when you are dolor complicated work Of} porcelnin. Experimenting with colour Poreelain ooloWll nearly always alter in shade after firing, 110 in onlerto familiarise youn;elf with ooloWll. I advise mWnr up a palette of eoloU1'1l on a poreelain plate. Try paintinr three shades of the same eolounlight. medium and dark- sothatyou can take DOte of the difference after firinr. Write the number or name of each colour apinst each exam ple, and kee p this plate as a firing reference. Every make halits own colours with its own numbers or names. For example, apple green or emerald green of one make will be d ifferent from thollC of another make. This chart of a few base ooloun (painted in waten:oloun) i. a close match with the eoloun l use for painting on porcelain. Itshould be done on a plate and fired at about SOOOC (1472"F). WithoneC(llour, threedifferentshades can be obtained. Light: one eoat of the eolour. M~ium: two coata ofthc

colour (intermedinte ruing).

Dort: three coata of the eolour (intermediate fuing.).

F'rnm loft to rirzhl: Pat. yeUtJW," il!O,.,. ~11ooJ," IIi1Uflr ~Uaw; da,lI ~Uow;

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Pah ~: IUl'f/uo;.: roy<>J bUu; oorntJt>u-l>Iw; "P""Il bWf; '~ blw: dtJri: g"y; bladt.

Lighl ¥Olden uloJd; Parma vlokl: rzoUUn vlokl;
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YiOUow p-«n; IIO/t Brftn;appk pun; /11)' I' ca.; 1m(gncn; blad BrttII," bl.., rzrom; ...... Brftn.

Ught pinll; Itwlium pinll; T"Oiie p;nll,"

ruby p;"It: cklcrl:>er,.,. .

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Vi<>ld 0(;"""; _IVlium red: nd bnlwn;

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The darker the colour you wish to paint, the more you have torepeatthe process oranother roat orcolourand an intennediate firing .

blue, otter brown, or chestnut brown, and apply them in vertical banda with a broad brush without pressi ng hard. Fire at 7400c (1364°F ).

Colo ur ltUperimpoilitioD using IIiI: coloun Fir" /iring ; divid e up the earthenware tile into six vertical banda. Takeyellow, iron red or nasturtium red , rose pink, olive if"een or· ivy gr~n , turqu oise

&oond firing; now apply the l ame colours, in the I18me order, this time paintinC them in horiwntal

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bands (yellow, red, rose pink, lP"een, blue, brown ). Fire at 740· C (1364°F).

Hint nus exercise can be performed with other coloun, in order to perfect ytlur technique and find out for younelfthe resulte of the lIuperimpoaitiOnB - do it on porcelain with a firin, temperature of 800 to BZOOC (1442 w 1508~F). I very olUln use pinks (which have a (Old base) inmymi:J:es orsuperimpoaitiOnB wenhance certain coloWll or pick them out.. Tryi ng out n e w ooloul"I with rreY (_ oppoaiJt) Ooly one firing is required for this. Divide the plaque up inw twenty·five squares. Take dark (Olden violet, cornflower blue, nasturtium red, silver yellow, apple (reen, medium grey. In each Iquare on the extreme right, apply the pure coloWll <(Olden violet, blue, etcl ln each of the square. on the left., apply medium grey. Then mi:J: each a)lour with the grey: for example, ,olden violet with 75~ JreY, colden violet with 50% p-ey, golden violet with 26~ Jrey. Do the same with the other coloWli and apply them in theappropriate equare. Fire at 7400c(1364"F). Make other test palettes by mixing the coloun: this will show you the resuJts after firing, and is very inttruetive. As you can see, with the lightor medium grey which I have miIed with apple gleen, }'f!llow, nast.wt.ium red, cornflower blue and dark golden violet I have achieved a palette of fift.een lovely new separate nuances of oolour. Fire it at around 7400c (1364or'). Even an eJtperienced painter is always making new discoveries. It is vital to master the art of colour if you wilIh to launch into producing your own des ign s. By mixin,or superimposingcolours,you will veryqulckly achieve a personal touch with tones of colour. Experimenting is very important!

Thchniqu£s Technique of firing Firing the design il not atall difficult, butifyou do not have an electric kiln with a mulTIe allowing the fuing of ooloWli on porcelain, you will find speciali. t !hop. that will be able to (iveyou rerommendations or will do the firing themselvea for you . Firing for on·glate painting should be done in an electric ceramic kiln: about 780°C (1256~F) for earthenware, wiilia slow increase in tempernture up to 72ifC (l298' F), and about 8000C (1472' F ) for porcelain, with a rapid increase in temperature and keeping it at 800"C ( I 472°F) for fifteen minutes. Sol\. firing is done with a brush on glazed surfacefl with vitrifiable ooloUl"1l which lll"e trans formed by fusioDin an electric oven and take on a lustrous, solid look when they have cooled.

Superimpolling severnl coata of the same colour give. it an ever· increasing intensity. one firin,must be made for t a ch coat of colour. Ifthe coat is too thick, the porcelain glate will not be able to absorb it, and it will peel off or chi p. My designs need several coal.8 with successive firings. ItiA the heat which gives poreelain il.8lasting solidity and IUSIn. However, firing can abo dellboy everythin&!This i8 where experience will make all the difference. Pon-elai n plaque. often require from four to six firings. Coloun are finished off with lustre. which, after firin&" give iridescence and brilliance to the colours. Precious metals are also used: burnishing gold (32 per cent pure), bright gold, matt platinum

""" bronu. 1he technique of successive firinp allow. eft"ecta which. enhance the iride!!CeDIE of the piece. It is a a)Dstant stru" le, though, and)'OlI alwa}'1l have to be on the wat.eh hecau8e the next firing could destroy everything!

Other techniques B ....shiDg nus means spreadin,thecoloureveolyand brushing,

paddingand evenin, it out with a smalllltippler brush (for small are8ll ) or a foam pad (for large aren). Clean the foam pad by soaking it in turpentine, and then wash it withlukewarm water and ordinary household soap and leave it to dry in a fme linen cloth away from dum.

Burnishi ng with agate If you burnith mattlburnishing gold with an agate tool you can get brilliant effects (matt..-brilliant) - see the eJtample oCthe decorated eggs.

Drawing with a pen This means using a strong steel·nibbed pen to draw very thin lines. You will need to prepare the paint so that it flows easily off your nib, and you should load your pen very lightly and keep wipin, it to stop it clogging up. Gold fi ring For porcelain, on a colour background, fu-e at about 68O"C (l256"Fl; and on white porcelain at about BOO"C (I 47:z<'F).

Imitation. e tching Using this specia l yellowy paste, make a garland of this colour on the poreelain, then, after fll"ing, cover the border with burnishing gold. After the ecooo firing, polish the (Old. The garland will have more of a matt finish than the background.

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IridisatioD of colotmiil After painting iridescent lustre on the porcelain, fire, and tllen paint a pale eolour on to the lustre. Fire a second time.

Threadi ng The term means thin lines painted on the porcelain by using a turntable. Fine or broad lines can be drawn using colours or precious metals.

/'tlarbling To get this effect, put on (using a brush or a pad) a background of irregular colour, using two shades (light and dark) to give a mottled or veined effect.

Using lustres These are metallic salts used as colorants, 80ld in specialist shops together with a crackling solution, and they give superb effects after firing. (You can also getlustres already mixed with the solution). I suggest )lUu makeup a sample plate 80 that you getacquainted with lustres, which all look brown bef(lte firing. Paint on pure lustre and, to lighten it, add a little special lustre-thinner. Clea n the brushes (ke pt speciallyfor workingwithlustres}with lustre-thinners (If (in an emergency) methylated spirits. Generally, lustres can be mixed witll each other, butthere are (lne or two that cannot, 80 be careful when you test them out! Mother-of-pearllustre is really superb - try usingit on butt.eril.ies' wings to give them a lovely iridescent effect. Lustres can be applied with a foam pad to achieve a uniform surface. Y(lU muat cut off the end of the pad afterwards, though, as it cannat be cleaned up. You should frre lustres f(lr earthenware at 680 to 700"C 0256 to 1292"F) and for porcelain at 780 to 800"C (1436 to 1472"F). If you put gold on a lustre background, fire at 800°C (l 472°F). When I put gold on a lustre hackgTound, I burnish it with agate.

Masking Ouid Use this special fluid for protecting an area which baa to remain white: paintthe fluid on tothe area you wish to remain white a nd let it dry. Then paint the background colour over the whole area, let the paint dry, and remove the masking fluid, which will come off easily(you must not forget to do this before firing!}. Polishing or burnis h ing gold Rub gold with special fine polishing sand or a special fibreglass brush. This will give matt or burnishing gold a fine appearance. Pouncing You can use a pouncing pattern for repeating a drawing: frrat draw the design on tracing paper and prick the outline with a needle, makingsmaU, regular holes. Then turn the paper over and rub it over gently with veryfme giasspaper(toopen out the holes}. Rub the pouncer (a cloth pad containing or impregnated with pounce (powdered charcoal}) across the tracing in swirls, and you willfind thatthecharcoal marks out the outline. Preparing colo ur with oil The oil keeps the colour fresh longer (it dries more slowly than with a turpentine preparation). It is very useful for doing thin lines and working with a pen, using a mixture of oil and fat oil. Re lief You can getsome interesting effects using white relief paste, which can be coloured (becareful, though: relief is tricky to use as it chips very easily). It is sold as a white powder, which you pulverise with a knife and some ter pineol (light pine oil) and make into a paste. Itis applied witha brush. To make a gilded relief, put relief paste specially formulated for gold on the porcelain and coat with burnishing gold af\:.er fuing.

Scraping the pai nting Scraping the colour when dry with a sharp_pointed piece of wood or a seraperfrubbing-out knife can produce some interesting and attractive designs. Speckling For this effect, put on colour alm(lst dry (with very little turpentine) with a foam pad. You can also use a toothbrush if you keep the colour a bit more liquid. 12

Us ing bronze Bronze is used in the same way as lustre.

How to start Before putting the patterns on to the porcelain itself, I always project my thoughts on to paper and try (lut a range of colours, developing the subject a8 I see the result of each fuing. The different stages of my wo rk are as follows.

On paper: preliminary thoughts, leading to a drawing of the fmished article; test palette; mixture of colours; trying out patterns, etc.

On 1M piece

of porcelain:

actually on the porcelain plaque, plate, medallion, or whatever.

I reproduce my design on the porcelain with tracing paper. After going ()Ver it with ink or a very fine brush to marl< the outlines, I go on to the colours and the intermediate firings. I always k eep a mental picture of the finished piece while I am working on it.

Flowers and leaves

Flower studies To !!ketch the violet&, morning glory and tulip, study the dir«tions of the lUTOWS in the picture on pa,e 15 and follow them with your brush·strokea.

Violeu

Sketch the petals with light gold violet., royal blue and !!iIver yellow, with a touch of bronze brown, then shade them with dark gold violet, dark cornflower blue, sepia brown and dark brown (for the yellow petals). Sketch the leaves with moss green and brown green, and ehade them with violet of iron and black

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Morning glory Sketch the mominr e:lories with royal blue mixed with a little light pink, silver yellow and bronze brown. 1hen Bhade them with comf1ower blue. The leaves Ire painted in moss green and olive green.

Tulip bouq~t Sketch the tulip with light pink and medium pink, and blend in lOme silver yellow flS shown in the picture. Shade the tulip with elderberry. The leaveare painted in apple green and emerald green. The little flower above the tulip (see page 16) is painted with rose pink mixed with medium blue, silver yellow, violet of iron, and a mixture of block and green.

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First fir;,." oIctlcil lilt tulip wilh medium pink ""d bkn4 ill.oo"'" ~Uver Y"JIow.

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16

Pink flower plate Two firings. Painted on porcelain (fired at 780 to 800'C (1436 to 1472°F)).

Paint a celadon backgrol,llld on the rim of the plate. After the first firing, setit offwitb a garland offoliage in moss gIllen mixed with ce1!ldon green, then fIre itfor a secDnd time.

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Fi,sj firing: >JIeICn;tlG. &cood {iring: ahtui;ng.

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BOlUluet 1 11lfl following colours are used: medium pink, dark rose pink, colden yellow, sepia, royal blue, wm1\ower blue, fir·tree green, violet of iron, black green.

The following ooloul1I are used: medium pink, dark

rose pink, royal blue, cornflower blue, golden yellow, lII!pia, fir·tree green, viclet of iron, black green.

You can shade the three little yellow roses with a mixture of violet arimo and black ~n .

The following colours are used: medium pink, dark rose pink, royal blue Mill II touch of maroon, dark golden violet, pearl grey, skyline grey, r.... tree green, violet of iron, black green.

Shade the royal blue mixed with II touch of maroon with dark golden violet, and the f...-tree green with violet of iron and black green.

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Thlips, roses and narcissi TIle following eoloUl'!l are used: Nareini: silver grey, dark grey, silver yellow, Drulturtium red, green. RO$e~ ;

medium pink, maroon.

Blue/lo~r': royal blue, eornf1uwer blue, silver yellow,

maroon. Spray. oflitth flnwus: nasturtium red, with a dot of black green. Tulip: medium pink, maroon, Bilver yellow, sepia. SlulcAi,,¥ 1M tulip wilA

Leauu: soft.green, moss green, meadow green, emerald green, violet of iron, black green.

Fint/iriIV:: Rketchthebouquet,foUowingthedirection ohhe bl'\1$h strokes shown (or the tulip and the rose

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(see the liUJe arrows).

S«XInd {iring: now shade each flower with stronger coloun. Shade the foliage with elderberry and rreen, or violet or iran and black green.

ShtJding lAc tulip wilA dor• ...oM I/Itpia. Scr:ond (iring.

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Rose bouquet The following coiouni are used: light gold violet, dark gold violet., royal blue, coml1ower blue, silver yellow, black green, medium pink, Dresden dark Tl)5t pink, meadcw green, soft green, emerald green, sepia,

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SUtcloing Ih. rOM ",leh rose plnlI. (MaJu a~u you foUcw 'he d ...·YCfi"'" o(lhe~

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finisMd bouqutt.

21

Peony bouquet The follGwing colounl are used: light pink, medium pink, dark rose pink, pale ccral red, dark coral red, golden yellow, chestnut brown, Tuyal blue, comflower blue, dark golden violet, lilac, violetofinm, pearl grey, skyline grey, dark grey, black green; and for the foliage use frr-tree green, black green, em erald gTeen,

Veronese green, Russian green.

Firstfving: sketch each flower, followingthe direction of the brush-strokes for the petals. Forlhe peony, use medium pink and elderberry; its centre is golden

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yellow, with a touch of ivory yellow and a bit Dr chestnut brown. Paint the little rose in pale cera! red.

Seoond(trinc: go over each flower again, giving them as much bulk as possible. Paint the peony petals in elderberry and shade them with fine cross-hatched lines. Shade the centre with chestnut brown or a mixture of violet afiran and black green, and the little rose with dark coral red. Finally shade the foliage with black green, and emerald green mixed with elderberry.

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Roses arul forgel-l11£-rwts The following coil)url are used: light pink, dark to.'le pink, golden yellow, pearl Jll!Y, skyline grey, light golden violet(or a mixture of lilac and rose pink); for the foliage use Veronesegreen, Iir-t.reegreen, emerald green, brown.

Thlip bouquet Th:o {irir!g3. Painted on earthenware

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(fired at 680to 72O"C(l256

to 1298"F).

The finishing touch is the elderberry line on the rim orthe dish.

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Oval dish with pink flowers Th.ro firings.

Painted on earthenware (fired at 680 to 72O"C (1256 to 1298°F)).

Finish offby painting a maroon line on the rim of the oval dish. To create the plate pictured on page 1, fonow the same procedure, but paint the bonkr in elderberry.

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Mixed bouquet The followingcolounare u&ed: rose pink, ruby purple, lilac mixed with rose pink, dark colden violet, golden yellow, orange yellow, dove brown, royal bl ue, cornflowe r blue; for the foliap use Empire green, emerald green, 10ft. green, black creen, violet of iron. Shade the lil.a.e mixed with

ro&e

pink, using dark

colden violet.

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Flower plate Two /irillgr. Painted on earthenware (fired to 1298"F)).

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680 to 72O"C (1256

The 6ni5hing touch il a bonier painted in elderberry.

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Three firinlJs. Painted on por<:elain (fired at 780 to 8OO"C (1436 to 1472"F)).

I made a collection of white poroe:lain egjl:s from Limoges and decorated them m)'1elf. Some or the designs have beeo inspired by reproduction' or old postcards, but most of them are my own desiiIl·

For this el:l:, fint sketch and shade the flowen; then paint a light graduated background in a pple green and ~llow. Finishoffbypaintinl:t.he feet- and bonier of the el:g emerald green.

WLld roses and insects Th ru {irincs. Sketch the wild roses and fill them in lightJy with light pink, light yellow ,and a touch of pale blue. Then shad e the rontours oftbe pet.o.ls with medium pink. Paint the centre. of the flowera with violet ofiTon, a little black I:ree n, and yellow. Then r.J1 in the background evenly with pale apple gr~n and pale yell()W, prot.ecting the bouquet and the insects with masking fluid .

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Daffodils and daisies Four /iringl/. FiI'$t {irirtg: a broad line oriridesoent lustre on the lid and the base ohhe egC.

StCMd {iring: a garland of gold (painted with a fine brush) on the lustre (lid and base).

lid

Sketch the bouquetand paint the daisies in basewhite (!hade in lightly with softgreenl. The forget-me-notll are in pale-blue relief, outlined in dark blue. Paint the centres of the dal!!ies with silver yeUow and violet of iron, then the petab orllle wild roses in rose pink and theircentna in yellow, black green, and apple green,

For the daffodils, U!Ie light and dark yeIJow, celadon green, violet afiton, lind a little black green. Ait.erfirin" the shadingofthe bouquet is done entirely with a pen; the foliage is in black green.

Orchid Four firings. First draw in the deaicn with II pen or a small brush; put several brush st.rokes of grey lustre around the orchid; t hen sketch the orchid in golden violet. For the third firing, put ma sking fluid Dn the orchid and the grey lustre to protect them, and make a mauve background with a bitofc:ornJIower blue and rose pink, creating a slightly marbled effect with II

foam pad. For the rowih firing, work on the background iii blue with a pen.

Mauve ribbon and garland FoUr /irings. Divide the egginto three sections to design the ribbon Ill1d the garland; the floral garl a nd will pau underthe ribbon. The ribbon is painted in pale mauve, finished with 32 per cent bumis hlng gold .Theth.ree feetare All painted gold.

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Daisies on a cowured background

Celadon·green ribbon with flowers

Two firillgs.

Four {irings.

Firsl

firi.nc: fill in the background of the egg in a very

pale colour (blue, yellow, pink or green), S«nndfiri.ng: shade the daisies in gold, and add sma1I gold dot!I to the background.

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The design il repeated three times round the egg.

Shade in the forget-me-nots with spring blue and

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cent gold.

On the lid, paint a little coronet of forget-me-nots, then 611 in the ribbon using celadon veen; finish off with small gold dot.! .

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The follnwin, coiours areused: spring blue, cornflower blue, soft green. celadon green, rose pink and 32 per

oornflower blue, and paint their centres pale yellow. The three feet,ofthe base are done in burnishing gold .

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') Cornflowers and golden garland Two (irings. Far the deliiJl, divide into three equal parts; sketch the garland of comJlowers, the gold lines- a broad one and a fine one (made with the aid ora t..umtablel - and paint the gold lattice-work.

First firing: sketch the garland of cornflowers. Second /iring: shade in tile garland and go over the gold. Note thatille oomflowerll are ,haded at the tips (cornflower blue). The little daLII are painted in

elderbelT)'. Paint the foliage soft. green, with shadin, in violet of iron and black rreen. 32

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Poppies and ax-eye daisies

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Thru firing •. For the folias:e, mil: up II range of greeD!!: 110ft." e' D, apple green, emeraJd green and black green. TIle shading it done with II pen. Paint the background oft.he bale oft.heegg in Empire

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green, leaf creeD, or perhaps ivy green, and add a ,old

"",J.nd. Paint the daisy petals in base white, and the centres in yeUow and violetofiron. For the poppiu, the petals should be nasturtium red, with black doll!, and the centres black and emerald &reen.

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Leaves

Sweet chestnut leaf Four /irings. 1Io1ng o r the pla te 'Ih! background is done in rust brown with a pebbled effect in matt platinum. The line, tao, is matt platinum. Bowl o rthe p late The leafis painted in pasl.ei colours, with the aid ofa tlUlltable, and there are white reliefs _ touches of matt platinum. I have outlined the leaf with rust brown.

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Chestnut leaf Five firings. Ulle a turntable to make the circles on the cheamut leaf.

, have ehOI!eD very soft colours here: light brown ochre and ru st brown for th e background, with white reliefs.

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Momingdew FEw firings. I created this composition around two maple leaves.

The background is speckled, filled in with grey, yellow and green·blue. I have drawn e " ems with a pen - gold dots and iridescent lustre. The maple leaves ~ painted in white relief on a background of very pale yellow and

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Gold and black kaves 111m firings. This is a free composition on an octagonal porcelain plate.

The foUowing colours are used : black, maire, 32 per cent burnishing gQld.

Fint firing: make the design; app\ymasking fluid to the motifs: fIll in the plate in maize with a foam pad (hesviertowards the centre). Remove the masking fluid before firing. 5«ond ftring: paint the leave. in black and burnishin, gold. With the turntable, make a broad line on the wing ofthe plate, with two other finer linea in black. You can get the pebble errect on the broad line by scraping 01,lt little citdes ming a toothpick or little wooden skewer. The rim of the plate is painted in burnishing gold. Third {iring: touch up the coloW"ll and the gold, arw:l paint a sprinkling of small black

dota on the maize...coloured background.

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Birds and beasts

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chatironnage.

Oriental birds Two {iring•. The 0010\11"1 u.sed in these chatirMni motifs art frah and bright. Clwliromll meant that the motifs are outlined willl a fine, regular, flowing lineofmanganCIie violet. The following coloun are used: rich elderberry (alternatively pink of Cassiut or carnation), bright yellow, silver(Tey, dark blue, cheltnutbrown, brieht green (meadow green), black for outlining (or use violet or manganese violet for this purpose). FIrst {iring: trace the design on to the porcelain or earthen~. Next., using a very fine brosh. outline the Moun of the bird, the leava, the b"ee, Md the

rocks with black, violet for outlining, or manpneae

violet (manganese violet can be made by mixing iron red (violetofironlwitheJderbeny and bitumen brown). The lirstfll"ing, atabout680 to 700"C(l256to 1292°F), will fix the ooloun.

&rond /iring: paint the bird. and their surroundings with a mediwn brush, a. shown in the step-by-step pictures. Then carry out the IJeOOnd firinr: at 8OO"C (1472°F ) for porcelain and 720QC (l298°F) for earthenware. For ponelain, a third Sring may be necessary.

TIlt {inWIM bird..

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First fjri'¥I: &Jutdli"ll.

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The birds of Saint-Clement 1\uo or lliru firin8a. The Qoral and bird patterns from Saint.-C1Wnent (a factory founded in 1757) are very finely done. They were inspired by examples from and look similar to those from &eaux.

Fint firing: first of all, transfer the design on to the pon:elain and sketdl the birds with II medium brush. Study the example closely, and move the brush in the direction shown by the llITOWli. Then paint the foliage,

The following colours are used:

Serorul /iring: shAde the feathen of the bird with II. fine brush. On the nasturtium red, shadem with the same colour. Shade the yeUow with medium and dark brown; the light golden violet with dark golden violet;

mvre,

R~d·h«ided

bird: light golden violet, dark golden

violet, light blue, light pink, apple rreen, nasturtium red, Bilver yellow, medium brown, dark brown. Bl~·headed

bird: nasturtium red , silver yellow,

medium blue, dark blue (cornflower blue), lightpink, light golden violet, dark golden violet, meadow green, medium brown, dark brown.

flowers, ground, etc.

the a pple green with m!'dium or dark brown; a nd the medium blue with romnower blue.

Then shade the ground, the nowers, the foliage, etc. If necessary, carry outa thin! firing after touching up.

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To shad~ the folia,e, mill the brown with apple ~n. Paint the mountaiJu veryli,htly: mix medium blue or light blue witblig:btpink. Thesetwotoloun blend beautifully. Pictures of bird8 in the SaintCI&neotstyiecan also bepainted in blue monochrome. You ean use a kind ofRouen Wue which you can make yourselfby mixin&: dark blue (cornflower blue) and li&:ht p-ey.

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finv.hed bird.

1Wo birds, Rouen style 7Wo firing•. Painted on earthenware(fired at 680 to 72O"C (1256 to 1298"F».

'Ihese Roue» birds are in the rOOailk style, a blend of Far-Eastern and Westem taste. RocojU, was veTy fashionable in the reign of Louis XV of France. The style ill eharaeteriaed by fantastic, asymmetrical desi£Illldominated bycurvesand oontorted fonn& and painted in II very fresh colour acheme.

The teclmiques are similar to those used to paint the oriental birds on pages 42 and 43: the designs are outlined in manganese violet, except. (OT one flower. The Dower budsand the crestlofthe birdaareou11ined innamutiumred. ThetneUunk ia painted in bitumen brown or manganese violet.

1be finishingtouch il the nasturtium-red hi,hli,hu on the relief border of the platter.

The foUowing coloun ate used: meadow greeD, nasturtium red, bitumen brown, bright yeUow, dark blue, manganese violet.

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. -, oul/in;nz· Pi,..: {irlng . - chat'''''''"

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Chimeric bird of Sceaux Three firings. Painted on porcelain (fired at 780 to 800"C (1436 to 1472"F».

orearthenwan. Then, witha broad brush, skereh the bird, the ground (with broad brush-strokes), the tree, the foliage, and the rocks. Cany out the first firing.

The Sceaux pottery was foUnded around 1748, and part of its productioD was influenced by Sb"asbourg

Second firing: with a fme or medium brush, highlight

(floral bouquets outlined in black ). Birds8reone (lfthe mOlit successful ofBeeawe's earthenware motifs.

Shade the apple-green part and the neck with ivory black; the carmine wings with carnation; the stomach and wing light grey with silver greyand dove grey; the

The following colouni are used:

and shade the bird.

The ground: pale yellow, golden yellow, sepia, pastel

back cornflower blue with black; the beak and some of the feathers yellow with dark brown; the tree and the Coliage with dark brown and apple green; and the tnmk with dark brown. Highlight the ground and shade it with dark brown.

brown, dark brown.

Carry out the seeond firing: pick out some reliefs on

T1u! tree and (oliage: apple green, sepia, dark brDWIl.

the border in dark brown with a fine brush; then, if necessary, touch up the design and do s third firing at

The bird: apple green, cannine, carnation, light grey, dove (n!Y, silver grey, iV(lry black, cornflower blue, golden yellow, dark brown.

The backgrowu1: maize.

8OO"C (14 72°F).

First {iring: flTSt transfer the motif on to the porcelain

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FirSj {iring: sketohing.

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Sf'COM fi ring: shading ill.

Hint When you are painting large areas, sometimes adding flux to the coloun helps fusion while r>ring and makes the colours brighter and more vivid.

1Wo phea.sants,

Sceauxstyk 7Wo

wing,.

Painted on earthenware (fired at 680 to 7200C (1256 to 1298°F)). To fmish off, paint several light

brush·strokes of elderberry on the rtlief contours (If the dillh.

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Owl on a branch, Zurich style Thru firings. Paintedon ashall(lw pon:elain basket with two handles at 800"C (l472°F ». ZUrich designs are inapired by the German and French designs of the period (around 1763-90). (find

'Ibe rollowing colours are used:

17aeowl: light grey, beige arty, dark grey, pale yellow, licht maroon (a touch ror the stomach), black (milled

BWan th ~crou.n d: nasturtium red, red brown, light maroon, elderbeny, medium brown, dark brown. Landornpe: apple green, soft. green, golden yellow, maroon, medium brown, dark brown, rose pink. Finish the basket off with an ornamental border in carmine blue, and add two smaIl f1o~nI (daisies. painted in nasturtium red ).

with II bit orwhite to IIOften it), white.

Bird 011 the wing: carmine, dark rich purple, J:la8twtium red, red brown, pale yeU(lw, spring blue, &nY, cornflower blue, medium brown, dark brown.

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Chiru;se ducks - famille rose style Two or three firings. The following colours are used: light pink, carnation, silver yellow, royal blue, apple green, chrome water green, ~r brown, beige grey, maroon. trace the design on to the pora:lain. Next, outline the two ducks using a fine brush and carnation (paint the details nfthe feathers in maroon). Outlinethe lotus flowers in carnation, the leaves in maroon , and the water in beige grey and maroon. The lotus sterns are apple green with little maroon dots. Fin;1 {iring:

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Stamd firing: sketch the ducks using water green, rose pink, beice &:reY, silver yellow, royal blue and a little otter brown. Then paint the lotus leave!! in otter brown, and the water in ehrome water creen. If necessary, tan')' out a third firing after any touching up you may need to do.

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Siskin and Ckristmas garland Thlft /iring!.

Painted on earthenWRTe (fired at 68() to 72O"C 0256 to 1298"F». A liMlniln, or teapot., consisul of /I pot (or the herbal tea (tiaa~), an oil lamp for heating it, and Ii SUlnd to put it on. Around the !IeCOnd half of the eighteenth oentUl)', the oillampa were transformed into night.. lights. They gave out a bit of light at night through their cylindrical body with holes in, and also kept herbal tea or !IOUp wanrt. These channing porcela.in

and earthenware objects have becomecollectora' pieces /Uld are BOught out fervently by enlhusi8.!ltal The following coioUTli are used (choose autumnal tint.l): grey, green grey, brown green, otter brown,

dark brown, black green, iron red, yellow, violet of iron, rose pink, fir-tree green. The background b in light brown green. Finl {iring: on the teapot stand, paint a garland of mistletoe leaves and berries, holly, and sprip offir; al501l few pine cones around the two Christmas roses.

On theteapot, painta wren on one Bide and a siskin Dn the other. The lid is decorated with 8 garland orboUy and mistletoe.

&cond {iring: paint the backgrounds in light browngreen, then II pale background around the garland and the binl$ to give depth to the design. For the handle and the spout, painta backgroWld on thelower half, with a garland of pine branchet dividing the coloured part. from the white part..

Third firinG: shade in the garland and the birds

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Butterfly on marbled red background Four firings.

First /iring: outline the butterfly and the flowers in black.

Strond /iring: paint mother-of pearl lustre withln the outlines of the butterflies and flowers.

Thirdfjring: create a marbled background in red and dark grey, and add white relief on the butterfly's wmgs.

Fourth /iring: touch up the black where needed, and apply burnishing gold.

Put some dots of white relief in the centres of the flowers. After firing, add gold dots to the white relief. For details of how to marble the colour, see the section on techniques.

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Mother hen and chicks Three /irings. Thet.hreechicks are painted with the followingoolours: silver yellow, ivory yellow, brown yellow, chestnut brown, nasturtium red, blaek. and violet of iron. For the flowers, use mauve and golden violet, and for their centres dark brown. Paint tile foliage using apple green l!-Dd ivy green.

For the base of the egg, fill in the background with silver yellow and spring blue, which will givea subtle, varied elfect.(yellow, green and blue). Then paint the black garland. '"

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Chinese butterfly Four firings. Paint the butterfly and the fioW!lT'S using nasturtium ~ and a little black.

For the background:

Fint {iring; fill in with ~y lustre.

Second /iring: make lines and small dots OD the lustre ..ith a pen or a fine brush.

Chinese goldfish

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Four firings. Fint /iring: for the lid, outline the fish in burnishing COld, black, and nasturtium red. S«ond firing: fill in the background using orangey Jusln! witll nasturtium-red and gold patterns. The .:ales orthe fish are gold. Third /iring: fill in with nasturtium red on the lustre, and scrape out the little cirdes with a toothpick. Fourth firing: firWlhing, I.ouchingup, and black·andred patterns where needed.

Paint the base of the egg in burnishing gold with &Orne nasturtium-red texturing. •

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Chinese fish

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1711w to foUl' {irings.

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Painted on porcelain (fired at 780"<: (1436"F»

First firing: trace the shape of the Chinese rlllh and the aeales with a pen or a fine outlining brush and grey paint. Add a few details. Second /iring: fill in the background and ao::entuate the seales with large do..,

Forthe little fish, prepare red and grey, a m.ixture of blue and maroon, and maroon. Paint in a few sma1l lotus flowers (the lotus flower is a symbol of

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purity) and lOme greenery. The bonier i, nasturtium red with gold latticing (fire atabout 680"(; (1256°F» . The thin

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lines are also gold.

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Up,- /1111: draw IM.oope 0{1M {WI, ;u _ ' . and 1M. badtgrounJ. in grey. TIM lotlU: rtJ« pink.. The lDiI ami (ina: ntUturtiwn red.. TM lower kfl·hand (Ulh is in mK pinA m.moeh",me. ~r

rilhl·hnM fish: pain/1M .luJpeof Ihe filA. 1M background. and 1M ..:ok. /" bl.u. TIM Ii"" ond 1M t4il: ,.,.,.. pi"•.

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Dragons ami phoenix 1'hrff tofour firing'.

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Painted DD a porcelain teapot-the largest one in my

entire oolleetion.

The following colours are used: nasturtium red, emerald green, and 32 per cent burnishing gold . Fint firing: draw the shapes of the dragons and the phoenix with a pen, in emerald green. The waves (at the top of the teapot stand) are symbols of peace, and are done in green and red.

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SOCtlnd /iring: work with a small brush and fill in with light and dark emerald green. Third firin,g: paint the details and the gold scales on the phoenix and the d ragons with a fine brush. The small clouds are painted in nasturtium red , and the frieu, II symbol of good fortune, is in gold.

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Insects and flower sprigs Four firingll. Painted on porcelain (fired at 780 to 800" (1436 to 1472°F}).

Second firing: paint broad bands oflight greyon parts of the teapot and its stand.

The following colours are .used: light grey (for the

Third-firing: shade the butterflies and flowers, draw

sections that have a background ), 32 per cent burnishing gold (for the gold bands), black, water

the gold bands, and then add a few more JittJeflowers

green, silver yellow, nasturtium red, yellow brown, a pple green, rose pink, spring blue, cornflower blue, pale yellow, dark brown, violet of iron, black green,

soft. green. First firing: draw and paint butterflies and bugs of different sizes and a scattering of littJe sprigs of flowers (forget-me-nots, rosebuds, scarlet pimpernels, etc.).

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dotted about here and there. Fourth firing:touch upthe gold. Outline the butterflie!l with nasturtium red; paint their bodies in black and dark brown, and their wings in silver yellow with nasturtium-red dots and black veins. Shadetheyellow wings with brown and add two red and blackladybirda to the teapot lid.

People

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Composition with three faces The wing of this plate has four different backgrounds and patterns. The colours in the compositicln are outlined in burnishing gold.

Wing of the plato (ri ght halO Paint the background in 32 per cent burnishing gold (s pread on evenly). After fuing, paint. the patterns in

nasturtium red or iron red. Bowl ofthe plate Usc burnishing gold, nasturtium red, cornflower blue, and light. blue. Wing o f the pla te (left halO The main colour of the background is nasturtium red. After firing, paint the patterns in gold and s mall dark

red dota. 64

Reflection Four /iring" Wing o(tbe plate Ft"t firinII: fill in with a baekground of maite.

Second firing: paint the fine r parte in yellow brown, using a brush; on the left. halfof the plate, DUtline the

finer ye llow-brown parts in dark brown. There are two gold lines,... one broad, one fine . Bowl oftbe plate Outlinethe design in burnishing gold.The background ia brown, slightly speckled and with gold dots.

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The fashionable woman Si:.: firingl. I designed this plaque in the Cubist style. The studied textures are inspired by the fabrics: see the test pattern (left).

Trying nUl differen t coI""r~ and pallern,,"

The woman in a hat Fiue firingR . HfluU coutl/Fe was the inSpiration for the plaque The

woman in a hat', 66

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'Playing cards' Six firings. I made this large oval dish for the 16th National Exhibition of Work in Paria, in 1982.

To decorate the border of the oval dish, whi ch h1lll IIlightly irregularly shaped wings, I gave it an scroll· like wrought-iron motif. For the inside ottne dish, I created II pattern which is II study of design, colour and patterns.

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The dish needed six firings at different temperature8. I used the following colours: light grey, nasturtium red, dark grey, block, silver yellow, Md cornflower

blue. I made the wrought-iron-style frieze in black and red so thatit would go with the com position 'Playing cards - queen a nd king or hean.,' that I designed for the

i.nside of the dish.

Woman and butterflies Six firings.

Painted on II poreelain plaque - II study of composition, colour and texture. This idea resulted in my creating two pieces: the round plaque below and the picture of which you can see II detail on the opposite page. See also the test patterns (right), where I have tried out designs for the picture on the opposite page.

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range of colours and

For the first firing, brush iridescent lustre over the whole surface of the plaque to give a moir~ effect. (After this first firing you can get on with the painting.) The following rolours are used: black, nasturtium red (for some of the butterfly wings), light and dark rose pink, otter brown, brown yellow, pale yellow, yellow relief, 32 per cent burnishing gold, and light and dark golden violet.

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Wing o f th e p late First {!Fing: the background is Rouen blue, or a mixture ofgrey and cornflower blue.

Second firing: with II brush, add a touch ofRouen blue; and lines in burnishinggold. Bowl of t h e p late Paint the face in blue monochrome and put imaginaty butterllies round it (in rose pink, blue, Parma violet, yellow and gold ).

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Mother and child •

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(see page 72)

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This is another plaque on wh: I have explored the use textures and patterns.

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Nativity scene Two firings.

Wing ofthc plate First firing: fill in the background with very pale rose pink.

&conti /iriJIg: add dot.s and little stan in aold. The linea are done with Il turntable \Ising bumishing gold. Bow) ofthe plate Use blue, I"08e pink, turquoise and yellow, then add burniahing gold and matt. platinum. Go round the outlines o(the drawing with burnishing gold.

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The Three Kings This is a variation of the plate on page 74,a study in pattern and colour OD a Christmas theme. .

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The Magi Six ro seven firings.

Painted 011 a porcelain plaque - another study of rolours and textures. The following colours are used: light and dark rose pink, Iightand dark golden violet, pale blue, light and dark grey. pale yellow, maize yellow, light apple green, Rouen blue, black, and 32 percent burnishing

Magus on platinum background (righJ)

gold.

Five {iringR, Painted on a p
The fcllowing colours are u8ed: matt platinum, burnishing gold, nasturtium red, spring blue,yellow, and blade..

First firine: using II perl, draw the Magus very fmely in black in the centre of the plAte. The surrounding pattern, which lookll like pebbles, is done in red.

Second {iring: paint the Magus.

Third/irirw:fill in the background with mattplatinum and paint the e10ak using bunUshing gold. Fourth /iring : draw patterns on the platinum background IUId touch up tlle gold.

FifIh fV'in.g: 76

strengthen all the colour!l.

TM crou:n: ~ilvr" ytll/ow. 'I'M fact: ~~ry diluted rm; !>L:1d ey<'8. Ikard oudined in hind, _tho rut in goJd. 'I'M. whole romposWon;8 outlinM In h/(,ck.

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Caspar, Melchior and Balthasar Four firings.

Painted on a porcelain tWnitrelt.eapota stylised representation of the Three Kings: Caspar, Melchior and Balthasar. The monogram is painted in black, while the background of the body of the teapot. and the base is painted in a very pale shade orRouen blue. Paint the top and bottom of the base and the lid of the tenpot a slightly darker shade of the same ~oloUT, and add a pebbled pattem. Finish off with burnishing gold and add slim bands ofRouen blue.

Madonna and Child Four {irings.

Painted on porcelain-a round medallion inspired by mediaeval paintings. Make the gold background as follows: FiNI firing:

reliefs for the gold .

&oond {iring : 32 per cent. burn.ishing gold .

Third ruing: paintsmall stylised daisies in nasturtium red and add a seat:tering o( black dots with a pen. 78

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Madonna on a gold background Four firings.

'Ibie egg was inspired by icons. The colours used are lightand medium pink, black, whit.erelief, and 32 per cent burnishing gold.

Third {Iring: apply a second coat of gold to the background. The fme texturing on the robe is done in medium pink.

For the border of the egg and the base, use cobalt or royal blue, and (or the background, burnishing gold.

Fourth {iring: use a pen for drawing in the black patterns on the gold background, and add some whitt relief dots w the black rim of the halo.

First {Iring: outlinethe shapeofthe Madonna in black with a fine brush.

&oorni {iril1C: rill in the robe in light-pink: the face and hands in very pale violet of iron; and the background in burnishing lold.

79

Church at Fechy Five firings. This oval porcelain medallion was inspired by the church in the village of Fechy in the canton ofVaud, Switzerland.

The rim is done with 32 per cent bumishing COld on II black background. For the background (the ,ky), r have made a speckled eITed. in blue grey and light maroon. 'The houses lind church arepninted in rose pink and Rouen blue mixed, Rouen blue, nasturtium red, and black, with large dots ofburmshing gold painted on II black background for one of the houses.

Stylised designs

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Bouquet ofpoppies (rig,")

Four {irings.

Five firings.

This design could be the inspiration for Ii plate or box.

The following colours are used: light and dark Rouen blue, light and dark galden violet, black, yellow, light and dark red, and burnishing gold.

The following colours are used: pale maize, brown, blue (light and dark), Parma violet, golden violet, turquoise, chrome wllter green, black, and 32 per cent burnishing gold. The background is painted in pale maire and the speckling is done in brown and turquoise, while the horses are painted in light and dark blue and their manes, tails, and reins outlined in gold. 82

Divide the plate up into unequal !legments and draw the poppy. Paint the different segmenu of the background in light red , lightRouen blue, and yellow, decorated with a few gold dots surrounded by black

sunburst.s.

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Flower petals Fiue firillgs. This plaque is a study of a flower-petal design.

The petals are transformed inw a textured shape of red oullined in gold; the background is black with white reliefs, 8omeofwhich aredecornt.ed with small black dots. Iridescent \ul!tre is used in the petals, and the shape is outlined in 32 per rent burnishing gold .

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nus compositJoo was inspired by listening to musk. I have used diluted colollI1l and pink reliefs, and the border is 1\ ribbon made with a comb, on II grey background.

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Fiue {irings.

Here I have played with letters of the alphabet to aeate II j umble of overlapping and merging shape • . The eoloura, precious metaJs, and patterns 6t into these liha pes.

The foll owing oolours are used: turquoise, nasturtium red, black; also burnishing gold and matt platinum,

Tbe following colours are used: nasturtium red, light p y, blllck, and blue grey (for the background). Platinum nnd two coats of burnishing gold are also up i: burnish thegold with an agate burnishing tool.

The back.(l'O und is painted in very pale blue grey, and the abstract. design is outlined in nasturtium red using II fme brush. Pattern8 are painted on the gold IIIId platinum in red or black.

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Five {irings,

This plaque is a study ora circular design made with

The tableau on the right is a real compendium of shape! and textures (it is a study of a linear design where the lines tum into shapes), Five firings art! needed forthislarge porcelain plaque. The foUowing

a turntable-a des.ign that might suit so ashtray, for example.

TIle circles are filled

in with pattern-work . The little

chess-board at the centre of one of the circles is painted in black and iridescent lustre; the background is painted in pale celadon, strewn with small turquoise pearls (with turquoise relieO.

ooiounsre used: blue, yellow, green, black, maroon (8 mixture ofcolours superimposed oneon another), and burnishing gold. The iridescent circle with the black ouUine is done using a tuml..1ble.

91

Polychromatic patterns with gold

Golden ribbon and patterns

Four firing•. First{iring :the background is done using a turntable.

This study in patt.erna is painted in pale blue, oomfiowerblue, lightpink, and black. The background is kept very paie, in pink and blue, and the patt.ernJI are painted on with a arnall, fine-pointed brush in cornflower blue, pink and black.

The following coloun are used: salmon pink, rose pink, pale blue, cornflower blue, apple green, and a mixture ofrose pink and blue.

StoOM firing: apply vanous pattemll in maroon and grey blue.

F'ivr (iring•.

The ribbon is painted in 32 per oe nlbumishing gold (two ooatal.

Third {iring: enham:e the patterns and add some ~~.

Fourth {irin.g: add a sprinkling of gold dots.

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Camaieu in Rou£n blu£ and gold Three firings. The background is mad e up ofbrond bands done using a tumtable. l used a square.ended brush for this and kept my paint a bit more liquid t}'lIIn normsl. The lines are done using a turntable and Rouen biue. The pebbled patterns are created in blue with a pen, and the large dots inside the pebbles are done in burnishing gold. Finally, add a scattering of small dota in Rouen blue.

92

Glossary BifICUi t

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Biscuit porcelain is made with line-quality paste givingtbeappearanc:e ofwhite metal in the workpiece. Biscuit is not coated with glaze.

A mixture of silicaceous sand. Flux helps oolouring matter to adhere and makes up the glaz.e.

Bowl The means the inside of a dish or plate.

C(llnmeu Colll(.lieu(moDochrome)desigmare done ina range of shades orlhl! same colour. Chalironne patterns

Floral patterns with a thin black or manganese violet outline round them. Chi na K'ien-long period, 1736-1195 K'ien-Iollg, the fourth emperor of the Manchurian dynasty, was a patron of the arts, and had IJOme excellent porcelain produced in thefamille rose style (mainly pink). Flowen - lotus, peonies, chrysanthemums, etc. - were alway. the main IIOUTce of inspirntion, but birds, duw, butterflies and fish were aIM painted with scrupulous attention todetail, alone conventional lines. Colo u r/I

These are metal oxide colouringa which, when mixed with fl ux, adhere to the porcelain glaze. Cobalt oxide is alwaYI u sed in blue coloUTII. Chromium oxide and copper oxide provide green

colours. AntHnony ande and lead chromate produce yellow

colours. Red colours are obtained with copper monoxide and iron Bellquioxide, whichgivesa great varietyof nuances of colour. Violet and pink coloUl1l come from a fine mixture of gold and tin oxide. Blacksaremadewith uranium mornrrideormirtu..res of cobalt oxide and manganese. Earthe nware For making b"aditional earthenware with opaque i:lru:e, the paste is fonned of clay(itis generally readymixed )to which sand can be added. After washing and firing fo r the first time, it is very pale in colour. A tlnbased glaze ill made fast by a second firing. After spplying the pattern and the ooloun, a third ruini: fuse. the colours into the glaze. Earthenware fabrication in Eastern Europe dates from the beginning of the fift.eenth century.

Kaolin Whiteclayused forporrelain paste. The firstdeposita were discovered in China at Kao-Iing, from which we getilieEoglish name.Similardeposits weredisoovered in France at St.-Yrieux, near Limoges, in 1767. Muftle kiln Kiln for soft-fuing of porcelain. Naturalistic pa tterns Floral patterns made up of fme hatthings and graduations of oolour to bring out the relief. Polychromati c Patterns with several colours.

Rocmlk patte rns Thesewereatthe heightoftheirpopularityin ceramics around 1750-1775. Rocailh patterns are mon often used as II border with patterns of birds and Ilowen. Rouen This factory was founded in 1644 and produced first the 'Chinelie' style and later the nx:aille style (around 1720).

The vivid coloun give Rouen work a very decorative character. The variety and quality of the radiant (rayonnont)pattemsfrom Rouenaretrulyexoeptional. These rayonlUmt-st.yle patterns, often set 01T with reds and yeUows, are from the first. half of the eighteenth cen tury. Polychromatic and rocaille patterns arrived slightly later on. Saint·Clement The Saint.-Ch!ment factory was founded in 1757. The floral and bird patterns from Sain("CMment are very finely done; they were inspired by examples from ~vres and similar to those from Sceaux.

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A pottery founded around 1748. Part of the Sceaux production · WAS influenced by Strasbourg (floral bouquets ouUined in black). Scellux employed painters of flowers, fruita and birds, and birds are one of the most successful of Sceaux's earthenware motifs. Si llocelloY

Founded in 1733. Several noted cemmic painten from Rouen set up in Sinceny. The desigrul were

drawn from Japan, China ifamiJle uerte, or famUk rose from theK'ien-longera), Rouen, Strasbourg, and """,,. Soft-firing patte rns These patterns are applied on fired glaze. •

Stnulbourg A 'soft-firing'technique similarto thatused in Mrilisen around 1749. 1767-1770 werethepeak years ofnaturalisticquo1itt ~ painting. Flor al patterns were painted with delicate brushwork after the style of Dresden china, which inspired them. Ornamental bouquets in the Strasbourg {hUT {ine style are dominated by a clear, vigorous palette of m lours and a striking variety of pinks and maroOI1ll. With this technique, called 'soft-firing' or 'mufDe· firing', the pattern is painted on glaze which has already been fired. In the finest-quality {hurs liTlell, all trace of outline (cha tiroTlM pattern)disappears. Petals on theflowers are made up offine shaded hatchings which follow the

mntours oethe petals. The mats of paint have to fuse into one another. Glowing light and dark purply-pink miour8 dominate the bouquets. The green of the leaves is 'applied in one or two hues and is shaded. With the brush, the paintingofthe leaves is done from the centre outwards to the edges, and in this wayitis possible to schieve a serrated edge (for rose leaves). The shading of the foliage is done with a mixture of elderberry and green, or rusty maroon and a green and black mix, or even brown and green. The process, which begins with thin mats of light colours, is the same for all bouquets.After the firstfiring, the colours in the second coat are not always the same as those in the first coat: they are often stronger . Wing or a dish Thia refers to the flat rim ofa dish or plate. ZUric h There was a porcelain factory atSchooren-Bendlikon (1763--90), said to have been founded by a painter from HOChst. The designs areinspired bytheGerman and French designs of the period.

95

Index Agate burni. her 7 Bandin& wheelS Birds and beuu 41-62 Brushel 7 Brushin,11 Carnation oi l 8 Colours 6, 9-11, 94 alternativlI 6 experiment;nr with 9 in pastille fonn 6 in poll 6 preparinr 9, 12 superimpoli tion 8, 11 Dividen 10

Earthenware 94 Fat oil 8

F'ibreglass brulh 8 Firin&, 11 Flowers 14-34

Gl ... bnuh 8 eontainer 8 rodS Gold 8

erate. 8 rin", 8 poli, hi", 12 !hinnllf 8

Graphite paper 8 Kiln! 8

Imitation etchin, 11 lri disation ofooloun12

Leave. 35-40 Marblill&" 12 Malkin, fluid 12 Materia" , equipment and techniquel7-12 Medium 8

Palette 8

96

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Palet.t.e knife 8

Pencils 8 People 63-72 Platinum 7 Poreel.in 7 Pouoeil!&' 12 Relief 12

Reliciou l

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73-80

Serape.S Serapin, 12 Speck lin, 12 Stylised desirnl 81- 93 Teapou 54 Thinners 8 Thread in, 12

1'isa1iurr. 54 TurntableS Turpentine euencl! 8

Usin&, lUltre' 12

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Painti ng in Aery licR

How to make yoW"own Recycled Paper

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Pui nting with Pal/1.el,

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This book covers a wick variety of styles ofpainting on porcelain and earthenware, from the classic flower and bird motifs of the eighteenth century to striking contemporary designs. The S€uenty-five colourful designs are painted on plates. platters, trinket boxes, sweet dishes, tisanieres or teapots, decorative wall plaques, medallions, and porcelain eggs. Many essential techniqu£s are described, including mixing and creating colours, sketching and shading the design, applying gold and reliefs, adding borders, and (iring. Enthusiastic china painters will find practical on a number of painting techniques, and fabric painters, s and illuminators will be inspired by the stunning designs, as will anyone interested in the decorative arts. ~;;;~;;;-;;;

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