The Brief Description Of Pottery Painting
Ceramics and ceramics are an important part of the interior of the kitchen and your appearance is really important in shaping your mood. Agree, breakfast would be even better if served on beautifully painted plates or cups. When painting pottery, both traditional and new styles are used. Traditional designs of pottery are of great cultural and artistic value. The clay pots that are baked in clay pots are painted by women.
The earliest pottery colors appear to have been achieved by using slips stained with various metallic oxides (see above Slip decorating). At first, these were undoubtedly oxides that occurred naturally in the clay; later they were added from other sources. Until the 19th century, when pottery colors began to be manufactured on an industrial scale, the oxides commonly used were those of tin, cobalt, copper, iron, manganese, and antimony. Tin oxide supplied a useful white, which was also used in making tin glaze and occasionally for painting. Cobalt blue, ranging in color from grayish-blue to pure sapphire, was widely used in East Asia and Europe for blue-and-white porcelain wares. Cupric oxide gives a distinctive series of blues, cuprous oxide a series of greens, and, in the presence of an excess of carbon monoxide, cupric oxide yields a bluish red. This particular color is known as reduced copper, and the kiln is said to have a reducing atmosphere. Drying, .The colors obtained from ferric iron range from pale yellow to black, the most important being a slightly orange-red, referred to as iron red. Ferrous iron yields a green that can be seen at its best on Chinese celadon wares. Manganese gives colors varying from the bright red-purple similar to permanganate of potash to a dark purplish-brown that can be almost black. The aubergine purple of the Chinese was derived from this oxide. Antimony provides an excellent yellow.
Pottery colors are used in two ways—under the glaze or over it. Overglaze painting is executed on a fired clay body covered with a fired glaze, underglaze painting, on a fired, unglazed body (which includes a body that has been coated with raw or unfired, glaze material).
Earthenware and stoneware are usually decorated with underglaze colors. After the body is manipulated into the desired shape it is fired. It is then painted, coated with a glaze, and fired again. The second firing is at a lower temperature than the first, being just sufficient to fuse the glaze. In the case of most tin-glazed wares the fired object was first coated with the tin glaze, then painted, then fired again. The painting needed exceptional skill since it was executed on the raw glaze and erasures were impossible. The addition of a transparent lead glaze over the painted decoration needed a third firing. In 18th-century Germany especially tin-glazed wares were decorated with colors applied over the fired glaze, as on porcelain. The wares were sometimes called Fayence-Porcelain.
The body and glaze of most hard porcelain are fired in one operation since the fusion temperature of the body and glaze is roughly the same. Underglaze colors are limited because they must be fired at the same temperature as the body and glaze, which is so high that many colors would “fire away” and disappear. Although the Chinese made some use of copper red, underglaze painting on porcelain is more or less limited to cobalt blue, an extremely stable and reliable color that yields satisfactory results under both high- and low-temperature firings. On soft porcelain, manganese was sometimes used under the glaze, but examples are rare. All other porcelain colors were painted over the fired glaze and fixed by a second firing that is much lower than the first.
