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Paul Scott


Guldagergrd 2006

Day 1:

Monoprint with ceramic tissue.

1. For this technique you blend ceramic colour, underglaze or oxides, with water and
paint it on a glass surface.
2. Then you apply a piec of potters tissue
or newspaper on the glass.
3. Then you draw your motive on the paper.
4. The motive can be transfered to laether
hard clay from the paper by use of finger or
credit card.
5. The ceramic colour can be reused by
putting a little water on the brush and
painting the glass with the colour again and

This is an example of an industrially produced plate where the tissue has been torn.

Monoprint with ceramic tissue

on glazed ceramics or glass.
As before you paint your motive on ceramic
tissue or newspaper.
But to be able to transfer the motive to the
glazed surface, it is necessary to make the
surface sticky.
For this you can use spraymount, hairspray,
coca cola or other sticky things.
It is necessary to experiment with the kiln
to reach the right temperature. You want the
colour to melt into the glaze or glass and
avoid it evaporating. It is good to start at
around 50 degree lower than the glaze firing
top temperature and then slowly work your
way up.

My monoprint experiments

Monoprint with photocopier.

You can print directly on wet clay with a
photocopy.The photocpier or printer must
have ironoxide in the ink and you must be
able to open the mashine before the paper
runs through the hot sealing roles. You can
see if the ink contains iron oxide by burning a piece of paper with the ink on it. If
the ink turns dark brown like corroded iron
the technique will work.The copied motive
can be transfered directly to the wet clay.
The colour is dark brown if fired without glaze until 1250*.Later it is shown how
to use the technique on glazed ceramics or

Monoprint with commercials.

Use a cheap glossy magazine with adds or paper from the photocopier or printer.
The colour mix is oxide, stains or underglaze and water. The consistancy has to be
found by experimenting.
Paint across the paper with a wide brush.
Where there is laquer on the paper, the colour crawls away, leaving a sort of grafic image.
The technique is a little hard to master.

Day 2:

Screen printing

Tuesday Paul taught us some nice

trix in photoshop.
Then we were given some wooden
frames and teh mesh to make our
own printing frame.We were shown
how to do it.
We were also talking about which
paper to print on. Paul talked
about the professional transparent
with totally black ink and semitransparent paper( which we used),
tracing paper if you want to draw
your own motif and finally normal
paper smeared in food oil to make
it semitransparent.

Monoprint with engobe/ slip

The engobe was made of porcelain
be cause we used porcelain as our
clay. It was mixed with a large
amount of underglaze colour.
You can paint on newspaper and
transfer to leatherhard clay.
The technique works really well
and it allows you to transfer motifs to rounded objects be cause
the newspaper isnt stiff.

Other techniques
The engobe can be painted to a
plaster surface. When the image
is finished, it is a good idea to
paint a layer of slip on both the
plaster and the slap of clay, before you sqeeze them together.
To make a relief effect you can
scratch into the plaster surface.
You can either sqeeze the clay
straight into it, or first paint
the relief with colour slip and
then scrabe the excess colour slip

My experiments with newspaper

My experiments with plaster

Day 3:

Ink for stamp printing

For leather hard surfaces you can
use glycerin mixed with underglaze
colour or stains.
For glazed surfaces or glass it is
better to use stand oil and linseed oil mixed together. You mix
the stand oil and powder first.
Make sure you put in as much powder as possible until the mix is
almost not smooth anymore. Then
you apply just a little linseed
oil to make the mix smooth but
still thick.
The rest of the day we were shown
a lot of pictures of other ceramicists working with decoration.

Examples of prints with glycerin on leather hard and bisque

fired surfaces.

Linolium print with stand - and

linseed oil
The colour mix for stamps can also
be used for other types of printing like fx linolium prints.
On leather hard it is possible to
print directly. On Glazed surface
it is better to transfer to paper

Wooden blocks
You can also use wooden blocks.
If you want to print on a glazed
surface you have to transfer the
print to paper and then the ceramic surface.

My experiments
I used a wooden block, cutting
into an eraser and leaves.

Day 4:

Today we fixed the motif on the
frame with light. Paul showed us a
primitive and easy way to do it.
The pictures show which materials
we used.
The photoemulsion he uses is not
particularly sensitive to light
but there are different options.
You have to see what works for


You pour a couple of spoons of

emulsion in the trough and run the
trough up the frame mesh one time.
Turn the frame and repeat.In all
you should run the trough up three
See photo.
When the frame is dry you expose
it to the light. Then you run to
the shower to wash away the emulsion that is still soft.
First you soften it with the water
and keep turning the frame untill
the whole motif is visible.

The lighting table

The lighting table is made from

two tables, a box of carton and
a plate of glass. Paul Scott uses
a UV lamp but it is also possible
to use an 500W lamp. The lampholder is a normal working lamp.The
frames are exposed to light for
four minutes.First we put the motif on the semitransparent paper. Then we lay down the frame,
front down. On top of it we put a
dark piece of paper and a piece of
heavy glass and some heavy books.


The decals were printed using the

frame. The frame was taped to the
table. You could also use hinges if you have a permanent working area.The decal was loosely
glued to the table, but it can
also be done with a bit of masking
tape.You can use masking tape on
the frame to stop the colour from
running out.You can use different
types of colour mixes but the best
ons are the smelly ones.

If you use colour mixed with oil
you have to clean it with terpentine.
When the print is dry you cover it
with cover coat. Cover coat is the
laquer that makes it possible to
transfer the print to the plate.
It is toxic and smelly so use a
mask and air cleaner.
The cover coat is applied with a
telephone card or a sqeegee.

To transfer the print to the ceramic surface you have to put the
decal into some luke warm water
until the laquer and print becomes
You take the whole piece of paper
and transfer it to the surface paper side down. Then you remove the
paper from underneath the print.

The frame
The frame can be used for all the
techniques we have learnt.Just use
the colour mix that fits with the
You can print on paper and transfer to ceramic surface.
Just experiment.

My experiments
Print transfered from frame to paper and then to bisque fired surface. Underglaze colour mixed with
acrylic media.

Day 5:

More about Decals.

This is another technique for making decals. You can use a decel
paper called Uwet which is already
coated with cover coat. The colour
is underglaze powder mixed with
acrylic medium and laquer.
Advantages are, it is not smelly
and you dont have to apply cover
But the acrylic colour dries ouy
faster than the oilbased, so you
have to watch out for the frame.
You cannot make a photocopy with
the Uwet paper, but you can with
normal decal paper.
See pictures.

Photocopy on decal paper

If you have access to a photocopier with iron oxide ink, you can
also print on decal paper.
You can apply cover coat and use
it as a normal decal or you can
apply spraymount to the glazed
surface and transfer the picture
directly. The paper has to be wet.
After a while you can remove the
paper. This technique works really
well on a glazed surface and not
so well on leather hard.

Example on leather hard clay


You can make lithography with any

kind of photocopy.
This is how to do it:
1. Use three bowls of water. In
one you pour a few drops of gummi arabicum.The other one is for
washing your sponge with dirty water. The third one is for washing
with cleaner water.
2. You put the photocopy on a
plate of glass(Paul Scott didnt)
and make it wet wiyh the water and
3. Then you apply the ink made of
4. The motif is transfered to the
ceramic surface.
5. done

Litography example with ordinary but heavy weight paper

Litography example with offset

The advantage of his kind of paper
is that it is re-usable.