Decorations of this character in high relief are frequently colored in natural tints, either under the glaze, in the biscuit; or over the glaze. The taste of this manner of finishing relief-work is somewhat questionable, and the same objection might apply to it as to colored sculpture. That it has received the sanction of the best factories in the world is no proof of its being in accord with correct taste, as the many (artistic) atrocities of Dresden and Capo di Monte testify. Some of the later Haviland faience, however, having a ground in the usual style of that ware with decoration in high relief, colored with subdued tints, harmonizing with the grounds, is so artistically done that one can hardly think it open to this objection, although it can not be considered an improvement upon the earlier work of this establishment in which the colored decorations were simply painted upon the surface.
It is only to the use of colors which imitate those of nature upon modeled decorations that there could be any objection. Relief-work may be conventional in its form, or colored conventionally, in one color or many, or gilded, with perfect taste. The latter method produces a fine effect, but, to make it successful, the color of the ground should be well chosen, and the design simple in form and not too much detached from the surface. The gilding looks best when left unburnished, and should only be rubbed enough to give the effect of dead gold.
Next, we have applied designs in low relief. These are made in several different ways, according to the effects desired. Work of this kind is more commonly executed by the method used in the production of Wedgwood-ware. The designs to be applied are first modeled in clay. Casts are then taken of the models in plaster of paris. Clay of the kind desired for the relief designs is then pressed in the mold and the edges trimmed off. The design can be removed from the mold by the aid of a flat, steel instrument, with a short, broad blade; or a palette knife, which when pressed upon the clay adheres to it and detaches it from the mold. It can then be transferred to the piece of ware to be decorated, to which it is made to adhere by the use of “slip,” as described before.
This method is very useful, indeed, indispensable in the manufacture of such wares commercially, when the same designs are to be repeated many times, but it is hardly to be recommended for artistic work, except for conventional designs, borders, etc. This method of casting the forms in a mold may be useful, however, in the reproduction of leaves of intricate outline, which can be made of various sizes, and, from the plasticity of the clay, can be infinitely varied in position according to the taste of the worker.
When objects of delicate and intricate form, such as threads, spider’s webs, nets, and sometimes leaves, are to be represented in work of this character, it can be accomplished by dipping threads, or nets of cotton, or, if leaves, the natural leaves themselves, into “slip.” The clay adheres to the threads, or forms, and after it has set sufficiently, they can be placed upon the object to be decorated. On firing, the substance inclosed within the clay is dissipated and the clay only, remains. Some very wonderful and beautiful effects may be produced in this way; but, as these delicate forms are necessarily very fragile, especially if much detached from the surface, they are only suitable for articles intended solely for ornament.
Designs in low relief can also be applied with the brush in the forms desired, which may afterward be shaped and finished by the use of modeling tools, or, when dry, carved with steel instruments. This latter is said to be the method by which M. Solon executes his exquisite designs in fine white clay upon ware which has been colored in the body. One of the greatest beauties of M. Solon’s work is the transparent effect produced where the clay has been left so thin as to show the colored ground through.
Work in the very slightest relief can be done with the brush alone. Care must be observed in this, however, that the application of clay is not so very slight as to produce complete transparency upon firing. By a judicious mixture of work in which the clay is so heavily laid on as to remain opaque after the firing, and of that which is applied so thinly as to become transparent, very delicate and beautiful effects can be produced by the use of white clay upon colored grounds.
The colored grounds in the Wedgwood and Solon ware are produced by the use of a fine clay body, which has been artificially colored throughout, which, in the case of Wedgwood, is finished by a very slight glaze, and in the Solon ware, by a full glaze, by which the transparent effects of certain parts of the work are brought out. The colors used in the body of these wares are blues, dark greens, and olives, and also black. Where it is not possible for the amateur, for whom these hints are written, to obtain such wares for decoration, very pretty work can be produced, as has been mentioned before, by the use of a body of naturally colored clay upon which white or a light-colored clay can be applied.
Relief-work can be finished with a full glaze, a very slight glaze, or can be left unglazed. As a general thing it may be said that the modeling in a design in high relief will look best with but a slight glaze, or none at all. The slight glaze is called by potters a “smear” glaze, and is effected by firing the work in a “seggar,” which is glazed upon the inside. The unglazed ware absorbs enough glaze from the glazed surface to give it a semi-glazed appearance, which is very pleasing. Work in partial relief, as well as articles in full relief, can also be finished by the application of colored glazes. This is the method by which the ware known at the present time as majolica is produced. Blue and green glazes of this kind are frequently to be obtained in potteries in this country, where they may be applied to work which has been modeled. Other colors in majolica glazes are to be had from the dealers, and if the colors desired can not be applied at the pottery, the artist can apply them with a brush in the same manner as paint is used upon the biscuit. The effect of work of this kind can also be enhanced by gilding put on over the glaze.