Elena Rossi
Pottery is an ancient art form that involves shaping and firing clay to create functional objects. The process of making pottery includes preparing the clay body, glazing, and decorating. Pottery can be decorated in many ways, and painting has been used since early prehistoric times. Pottery that has been fired once is often painted, and may then be overlaid with a glaze. This is called overglaze painting, and it is executed on a fired clay body covered with a fired glaze. The painting requires exceptional skill, as it is done on the raw glaze and cannot be erased. The pottery is then fired again at a lower temperature to fuse the glaze. This process of glaze firing causes the glaze material to melt and adhere to the pottery, creating a glass seal that colours and waterproofs the object.
| Characteristics | Values |
|---|---|
| Pottery painted after being fired | Overglaze painting |
| Pottery painted before being fired | Underglaze painting |
| Other terms for overglaze colours | Enamel colours, muffle colours |
| Overglaze colours consist of | Pigments mixed with glaze material |
| Overglaze colours are suspended in mediums such as | Gum arabic |
| Overglaze colours are added to | Earthenware, stoneware, porcelain |
| Pottery painted before being fired is limited by | The high temperature required to fire the body and glaze, which causes many colours to disappear |
| Pottery that has been fired but not yet glazed | Bisque |
| Pottery that has undergone the initial firing but has not yet been glazed or fired again | Ceramic bisque |
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What You'll Learn
Pottery painted after firing is called overglaze painting
Overglaze colours, also known as enamel or muffle colours, consist of pigments mixed with glaze material and suspended in a medium like gum arabic. An alkaline flux is added to lower the melting point of the glaze, allowing the colours to adhere to the surface during firing. This technique was first used in Persia and China in the 12th century, with Islamic potters inventing lustre decoration by applying a colloid suspension of finely powdered gold, silver, platinum, or copper.
Underglaze painting, on the other hand, is done on a fired, unglazed clay body. The piece is then coated with glaze and fired again. Earthenware and stoneware are typically decorated with underglaze colours. However, the high firing temperature required for underglaze limits the colour options, as many colours cannot withstand the heat and may disappear.
The process of pottery making involves shaping and firing clay to create functional objects. The initial firing hardens the clay, making it solid and porous, and ready to absorb glaze. After the first firing, the pottery is glazed and fired again at a higher temperature to create the final, glazed ceramic piece. This second firing causes the glaze material to melt and adhere to the object, creating a protective layer.
Decorating pottery with paint and glaze is a creative process that has been practised since early prehistoric times. The painting techniques and colour options vary depending on whether the pottery is painted before or after firing, resulting in unique and captivating artworks.
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Overglaze colours are also known as enamel or muffle colours
Overglaze colours, also known as enamel or muffle colours, are used in pottery decoration. This technique involves applying colours on top of an already fired and glazed clay body, which is then fixed with a second round of firing at a lower temperature. This method of pottery decoration is also called overglaze enamelling or on-glaze decoration. The term 'muffle' in muffle colours comes from the type of kiln, called a muffle kiln, in which the pottery is fired.
Overglaze colours were first used in Persia on earthenware in the 12th century and perhaps simultaneously on Chinese stoneware made at Cizhou. The colours consist of pigments mixed with glaze material suspended in a medium, such as gum arabic, with an alkaline flux added to lower the melting point below that of the glaze. The Chinese perfected this technique in the 17th century, and it was later introduced in France around 1740. During the 18th century, overglaze decoration became the dominant technique in expensive pottery, especially porcelain, in Europe, East Asia, and to a lesser extent, North America.
Underglaze colours, on the other hand, are applied to a fired, unglazed clay body. This method is commonly used on earthenware and stoneware. After painting, the piece is coated with glaze and fired again at a lower temperature. Unlike overglaze colours, the range of colours that can be achieved with underglaze is limited because they must be fired at the same high temperature as the clay body, causing many colours to disappear. However, underglaze provides more flexibility in design compared to overglaze.
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Pottery painted before firing is called underglaze painting
Underglaze painting is a process where the décor is painted onto a piece of pottery and then covered with a clear glaze. The glaze is then fired, causing the glaze material to melt and adhere to the object. This process can be repeated multiple times, with different glazes and colours, to create intricate designs. The final colour of an underglaze will change depending on the clay it is used on and the glaze it is paired with. Some clear glazes will not be compatible with certain colours, so it is important to test different combinations before starting a project.
Underglaze painting can be applied in a few different ways. It can be painted on with a brush, using a floating technique similar to applying nail polish, or it can be applied with an underglaze applicator bottle for more precise lines. It is important to use a good-quality brush to avoid brush marks and ensure a smooth application. Another technique is to sketch the design onto the pottery with a pencil, which will burn off during the firing process, and then paint over it with underglaze.
Underglaze painting is a versatile technique that can be used to create a variety of effects, from intricate illustrative designs to painterly effects that rival the old masters. It can be applied at any point in the firing process before the glaze is added, but it is important to note that once the piece has been bisqued, the colours can no longer be wiped away or scratched off. Additionally, underglaze pencils can only be added at the bisque stage, as applying them on top of dried underglaze will cause the paint to flake away.
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Pottery fired once is called bisqueware, ceramic bisque or biscuit ware
Pottery that has been fired once is called bisqueware, ceramic bisque, or biscuit ware. This first firing, known as bisque firing, takes place at temperatures between 950 and 1160 degrees Celsius (1742 to 2120 degrees Fahrenheit). The purpose of this firing stage is to harden the clay, remove chemically bonded water, and fuse clay particles together. After this initial firing, the pottery is significantly harder and more robust than raw clay, and its colour often changes to a whiter or pinkish hue.
Once the pottery has been bisque-fired, it is then ready for the next steps, which may include painting, glazing, and additional firings. Some pottery is painted before being glazed and fired a second time. This technique, known as underglaze painting, involves applying paint directly to the fired clay body before coating it with glaze and firing it again at a lower temperature. This method is commonly used for earthenware and stoneware.
Alternatively, pottery can be glazed and then painted, a technique known as overglaze or enamel painting. In this process, the glaze is applied to the bisque-fired pottery, and then the desired colours are painted on top of the glaze. The piece is then fired again, causing the glaze material to melt and adhere to the object. Overglaze colours were first used in Persia on earthenware in the 12th century and later on Chinese stoneware made at Cizhou.
The decision to paint before or after glazing depends on the desired aesthetic and the properties of the pigments used. Many pigments change colour when fired, so the painter must allow for this transformation. Additionally, underglaze colours are limited due to the high firing temperatures required, as many colours cannot withstand such extreme heat.
Whether painted before or after glazing, the final product is a beautiful and functional piece of pottery, the result of a meticulous process refined over thousands of years.
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Pottery fired twice is called glaze firing
Pottery is an ancient art form that has been practised for thousands of years. The process of creating pottery involves shaping clay into desired forms and then subjecting it to firing in a kiln. Firing plays a crucial role in transforming the clay into a durable ceramic material. In the context of pottery, the term "glaze firing" specifically refers to the process of applying a glaze to a piece of pottery and then firing it in a kiln. This step is often performed twice, with the second firing occurring at a lower temperature than the first.
The technique of glaze firing has been refined over centuries, with the first recorded usage dating back to the 7th millennium BC in the form of unglazed, low-fired pots made from reddish-brown clays. Over time, pottery decoration became more elaborate, incorporating intricate painted designs and natural forms. The invention of the potter's wheel and advancements in kiln technology during the Ubaid period in Mesopotamia (6000-4000 BC) significantly enhanced the efficiency and aesthetics of pottery production.
The process of glaze firing involves two distinct stages. The first stage, known as the bisque or biscuit ware, involves firing the shaped clay at a high temperature to harden it. This initial firing provides a stable base for the subsequent application of the glaze. The second stage, aptly named "glaze firing," involves coating the bisque with a glaze and subjecting it to a second firing at a lower temperature. This lower temperature ensures that the glaze melts and adheres to the pottery without causing any structural damage.
The act of firing pottery twice offers several advantages. Firstly, it allows for easier application of glazes, reducing the likelihood of the piece absorbing too much glaze and falling apart. Secondly, it provides the potter with the opportunity to correct any mistakes in the glazing process by washing off the glaze and starting again. Additionally, decorative techniques that involve removing glaze to create textured surfaces are more feasible with double firing.
While most pottery is fired twice, there are instances where single firing, also known as "once-fired ware," is employed. Ancient pottery, such as Chun Pottery, often utilised this technique. However, single firing presents challenges such as a higher risk of cracking and glaze issues like crawling and pinholing. As fuel costs continue to rise, there may be a renewed interest in exploring the potential benefits of single firing, especially for experienced potters capable of mitigating these challenges.
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Frequently asked questions
Pottery that has been fired and then painted is called ceramic bisque or biscuit ware. This is an intermediate stage in pottery making, after which the pottery is glazed and fired again at a higher temperature to create the final product.
The initial firing process involves placing unfired clay objects in a kiln and heating them to a specific temperature, typically between 1700°F and 1900°F (930°C and 1040°C). This turns the clay into bisqueware, making it solid and porous, and ready for painting or adding additional clay elements. After painting, the pottery undergoes a second firing, known as the glaze firing, where the glaze material melts and adheres to the object.
Painting pottery after firing allows for more elaborate and intricate designs, as the clay has hardened and is easier to handle. Additionally, the painting can be protected by the glaze, which acts as a tough outer layer, preventing liquids from penetrating the pottery.
A wide range of colours can be used for painting pottery after firing. These include overglaze colours, also known as enamel or muffle colours, which consist of pigments mixed with glaze material. Underglaze colours are also used but are limited due to the high firing temperatures causing some colours to disappear.
