Pottery decoration under the glaze

by M. Louise McLaughlin

METHOD OF PAINTING.

Let us suppose that the artist wishes to paint a vase. A certain tint being selected for the ground, the color, or colors, which are to produce it are mixed in their relative proportions, according to the hints given above. A sufficient quantity should be prepared to paint the whole ground, especially if a mixed tint, which it would be difficult to reproduce in its exact proportions. It will require some little experience to enable the artist to judge how much will be needed, and, perhaps, it will be somewhat difficult for any one accustomed to painting in other methods, to realize the quantity of paint used in this. It is better to have too much mixed than too little, as it can be kept and used another time.

The color, or colors, for the ground having been rubbed down until perfectly smooth, as directed before, may be mixed with more or less clay, according to the shade of color desired. The first tint may be made to represent the darkest shade in the ground, and a comparatively small amount of clay should be used. After the color has been mixed with the clay, it can be placed on one side of the palette. By taking portions from it and adding more clay, other shades of the same color may be made. First, a light tint may be prepared for the first coat upon the vase.

Before commencing to lay on the ground, it is well to wash the surface of the vase with a thin solution of glaze (such as is used for finishing the ware), or with borax water. This is to ensure the adhesion of the clay, of which the painting is to consist, to the clay of which the vase is made. Previous to this, the vase, if not already in good condition, should be washed over with a brush, or with a sponge dipped in water, or sprinkled until it has absorbed water enough to keep the clay, which is to be applied to its surface, from drying too quickly.

A broad, flat camel’s-hair brush may then be charged with the light tint, and the surface of the vase covered with it as evenly as possible, and so thickly as to completely obscure the body. This done, another tint, darker than the first, in a degree sufficient to permit their being distinguished from each other, may be mixed. This will form the middle tint of the ground, and is to be laid on over the first. The reason for applying two coats is, that, although it might be possible to paint one with the degree of thickness necessary to prevent the shrinkage of the applied clay in the firing, from revealing the body of the vase, still the beginner is very likely to be deceived as to the thickness of the impasto, judging by the eye alone. Potters dip pieces of ware in colored slips, and the thickness of the covering thus formed is all sufficient. In the case of painting, however, it is impossible to lay the clay on as evenly, and there will be, in all probability, some places too thinly covered to stand the fire, but which would not be revealed before. It is better, therefore, to apply two coats, so that one may cover up the deficiencies of the other. The reason for having these two coats of different tints is, that it is then possible to be assured that the surface is covered completely, it being easy to distinguish the first tint laid from the body of the vase, and in the second painting, to observe that it entirely covers the first.

The second coat finished, a lighter tint should be mixed, with which the ground is varied by touches here and there, making the highest light of the ground, while touches of the first tint mixed, give the darker shades. There should be difference enough in tone between the middle tints of the ground, and these lighter and darker tints, to produce a good effect of light and shade, and these touches should be laid on with a free hand, and then softened into the ground, care being taken that the lights and shadows should not end too abruptly.

In these touches, as in all the painting, there must be a certain thickness in reality, as well as in appearance, to make the work effective when finished. The clay shrinks and seems to be dissipated in the process of firing, and if applied too thinly, in any part, will reveal the body of the ware, or some under-tint, perhaps spoiling the appearance of the whole. The transparent effect, produced by a thin layer of clay, which, after firing, shows the under-tint through, is sometimes very beautiful in certain parts of a design. It is, however, difficult to judge by the eye of the requisite degree of thickness necessary to produce this effect, and the heat of the firing may be so great as to cause that portion of the painting to disappear entirely. It can not, then, be safely counted upon, and the best way is to depend solely upon the lights and shades of the painting for the effects desired.

The ground finished, the decorative design may be painted upon it. This should not be outlined upon the surface, but should simply be painted with a free hand, and without too much attention to detail, a brilliant effect of light, shade, and color being the object aimed at in this style of painting.

We will suppose that a floral design is to be painted upon the vase. The middle tint of the flowers can first be laid, the shadows are then put in, and lastly the high lights, laid on heavily, almost giving the effect of relief. Leaves and other accessories of the design may be treated in the same manner. The edge of the design must be softened into the background, to avoid a hard effect after the work is glazed. The process of glazing has a tendency to soften and melt the tints into each other, but this effect must be enhanced by judicious use of the middle tints and shadows of the painting, and by leaving the edges thin. One of the greatest beauties of this kind of painting, when well done, is the effect of the rich colors melting into each other, with a charming indistinctness, which leaves something to the imagination of the beholder.

Those who have not been accustomed to the use of color in such masses, will, perhaps, be embarrassed at first by the difficulty of painting with clay. This will soon be overcome by practice, but, as has been said before, it should always be remembered that it is clay which is used, and, therefore, the work is subject to the conditions which govern the use of that material.

It is unnecessary to enter further into details, as it is only intended here, to give some instruction as to the method of painting, leaving the manner of it to the artist, it being taken for granted that any one desiring to practice this kind of painting should have already attained some proficiency in the use of colors, and should have acquired a knowledge of the rules which govern art.

To such there will simply be the difficulty of learning to work with a new material. If this knowledge does not exist, it will be no easier to succeed in accomplishing any thing, worth the doing, in this, than in other kinds of art work.

With regard to the colors to be used, it is enough to say that a sufficient number can be obtained to produce by admixture, in various degrees, tints for the production of any subject required. It is only necessary to remember, as said before, that in these mixtures the stronger colors must not be in such proportion as to overpower the weaker. A list of useful colors has been given in a previous chapter. In regard to the mixtures of these colors a few words may be of use.

Black is a very useful color for shadows, making, in its admixture with white clay, numerous pleasing tints of grey, which may be varied by the addition of any other color which may be desired. As black is one of the strongest colors, however, it must be very sparingly used where a light tint is needed. In the mixture of blue and green, the former must exist in a much smaller proportion than the latter, if the mixture is to have a greenish tint. Experience alone can give success, but enough has been said to prevent the beginner from making very disastrous mistakes.

The painting must, of course, be executed while the clay is wet, and should be finished in one sitting. If this is not possible, it may be kept wet in the way described for keeping the ware before painting.

In describing the method of painting a vase, we have taken for our model, one decorated with flowers. Decorations can, however, be as varied in regard to subjects as paintings on canvas. Floral decorations seem to be the best adapted to vases, or other objects having rounded surfaces. Plaques and vases, such as pilgrim jars, which afford flat surfaces, may also be decorated with landscapes or figures. For these subjects somewhat different treatment may be adopted, but enough has been said to indicate the requirements of the material, and each artist will find a manner suited to himself.

Decorations of a similar character can be produced upon ware of different colors, leaving the color of the clay for a ground. This has a very good effect when done upon cream-tinted clay in suitable colors. As this kind of ware should be fired at a higher temperature than the deeper tinted and coarser clays, the colors are liable to fade in the firing. This is not undesirable, however, as the faded tints harmonize with the light ground much better than darker colors. Some beautiful effects can be produced by decoration of this kind, which can be supplemented by carving and gilding.

The same method can be used on a ground of dark red clay by the selection of colors which will harmonize with the ground. Yellow flowers look well upon a ground of this character, and the yellow color can be produced, as we have said before, by the use of yellow clay, either alone or as an adjunct to the color.

Monochrome decorations can also be produced, by the use of natural clays of various colors, in the same manner as that pursued in the use of the artificially tinted clay of which we have been treating. Good effects can be produced in this way, with the advantage that the colors will be fully retained in the firing. Red, or brown and white, in various degrees of combination, can be used to produce a design with every effect of light and shade. Also, red, with cream-tinted clay, or the three colors—red, yellow and white—can be used together. These designs can be produced upon grounds of cream, red, or yellow clay.