Académique Documents
Professionnel Documents
Culture Documents
TRANSFER
TECHNIQUES
Printed in China
Wandless
Ceramic
Arts
Handbook
Series
iv
Table of Contents
1 Image Transfer & Application
Newsprint Slip Transfers
11
Projecting Patterns
13
16
Photolithography Transfers
21
Graphite Transfers
26
32
Jessica Knapp
Shana Salaff
Martina Lantin
Kristina Bogdanov
Judith Berk King
Kate Missett
2 Decals
No-Fire Decals
35
39
41
46
50
53
Brendan Tang
Frank Gaydos
Justin Rothshank
Linda Gates
Andrew Gilliatt
Juan Granados
55
69
71
74
Ann Ruel
Jessica Knapp
Holly Goring
75
80
Friskets
85
Die-Cut Stencils
89
Using Stencils
94
Dimensional Stencils
99
Kip OKrongly
vi
102
5 Screening
Building a Silkscreen
105
111
117
121
127
132
Brad Menninga
Alice Drew
Forrest Lesch-Middelton
vii
Preface
Clay has a history of being combined with, and included in, other creative practices, such as printmaking,
drawing and photography. Clay and print have an especially unique relationship due to their natural compatibility. Utilizing printmaking techniques with underglaze, slip, and glaze to address clay surfaces allows
one to take advantage of the best of both mediums. Image transfer onto clay is a great way to explore
and experiment with different mediums and see what exciting possibilities can be visually incorporated
in your clay work. Having the ability to transfer an image, design, or text gives you the ability to take full
advantage of your creative ideas.
Over the years, several informative articles have appeared in Ceramics Monthly and Pottery Making Illustrated addressing clay and image transfer. A wide variety of methods have been covered to address the
surfaces of greenware, bisqueware and glazeware with printing and transfer techniques. This book is a
collection of information curated from these past articles, along with a few new ones written specifically
to be included in this book. Most of the processes covered are water-based and safe to use in your studio,
which makes it user friendly for everyone to try. Along with process information, there are also tips and
instructions on how to make some of the printing tools to help you customize your work even more.
Appliqu and paper transfers are a great introduction to transferring images if youre new to this way of
working. All you need is newsprint and underglaze to get started. Patterns and designs can be created on
newsprint with both underglaze and slip, then transferred to greenware to create new and dynamic surfaces. This can be done on flat slabs for handbuilding purposes or directly onto the curved walls of vessels.
Decals have been a popular choice for artists to add photographic images, designs and text to clay for
decades. A variety of decal options are covered, which address different visual effects that can be created
on work. Non-fired decals are a great choice to add images, but not add another firing. Laser toner decals
are a good choice for sepia-toned images that have a more subtle visual impact. Commercial decals, diecut decals and layering decals to make a complex collage are more options to explore, if youre interested
in further personalization.
Relief and embossing are image transfer techniques that allow imagery to be printed or impressed into
clay. Relief in the forms of linocuts and photosensitive polymer plates are used to print and emboss on
clay. Your ideas can be carved into linoleum and photographic images can be burned into photopolymer plates. For simpler ideas, rubber stamps can be used to create small reliefs to decorate greenware or
bisqueware.
Glaze etching and light sensitive emulsions can be used to work on glazed surfaces and bisqueware.
Work thats already glaze fired can have patterns and designs etched into the glaze surface. The matte,
etched areas contrast nicely with the glossy, un-etched areas. Photographic images can be projected onto
bisqueware thats been coated with light sensitive emulsion. The emulsion hardens and leaves an image
behind that can be fired. These two techniques produce unique results and are readily available as common art supplies.
While stencils seem like a fairly simple tool, they can be used to make very complex images. They can be
used on greenware, bisqueware and glazeware. You can go from cutting silhouettes for simple, single-color
images, to combining multiple stencils to create a complex, multi-color image. If hand-cut stencils are not
viii
for you, you can have them commercially made. Information to have die-cut stencils is covered so youll
know how to prepare the image files for best results. Friskets are another variation of masking technique
you can employ directly to the surface of your work.
Screen printing is the natural evolution of stencils to use images with greater detail. This certainly is one
of the most widespread and popular image transfer technique used by artists. Instructions of how to build
your own screen for printing, will allow you to build custom screens that are best suited for your ideas.
All you will need are common hand tools and a few supplies from an art store. Photocopy film negatives
are a cost-effective way to make custom images to burn into screens using diazo-sensitive emulsion. This
saves the trouble of making transparencies or darkroom film negatives. If you want to work without a
darkroom to burn screens, UV sensitive emulsion screens are covered. The unmounted screens give you
the option to print on flat or curved surface and can be used on greenware, bisqueware and glazeware. A
variety of screening techniques are introduced to screen single color images, multi-color images and even
screening on vessel forms.
This collection of clay and printmaking techniques has something for everyone, regardless of your level
of experience. There are several easy-to-follow processes for someone just wanting to experiment with
clay and printing for the first time. There are also several processes for someone looking to expand their
current skill set or learn new variations for screens, relief, paper transfers and decals. Then there are some
technical articles for those who like to make their own tools and equipment. Regardless of where you fall
in this spectrum, there will be something to try and hopefully make that image, pattern or design you
always wanted to, but werent quite sure how to do.
ix
Too Much Television, uses newsprint and slip decoration combined with incised decoration, decals, luster, and glaze,
creating dimensional surfaces that also pop with color.
My childhood interest in television cartoons influenced my current ceramic forms and surfaces.
The bright colors, graphic patterns, and illustrative qualities recapture and celebrate my fascination with whimsical domestic representation. Im
inspired by the stylized hand-drawn utilitarian
objects like a coffee mug in a cartoon characters
hand or the mixing bowl displayed on the shelf in
their kitchen.
The combination of commercial stained slips
and newsprint is a paper transfer process. By applying slips saturated with bold colors onto newsprint, then transferring the drawn images to a
slipped clay object, I can achieve an animated
surface. Playtime doesnt end there; I continue by
introducing stamps, stains, and stickers to further
enhance the ceramic surface until the desired effect is fully achieved.
Swirls and Stripes, 101/4 in. (26 cm) in diameter, earthenware, slip, underglaze,
glaze, laser-toner decals, commercial decals, and gold luster.
1. Create patterns with colored slips. Paint the foreground layer first and the background last.
2. When leather-hard, blot and brush on the background slip, which also serves as a transfer coat.
4. When the slip has had time to absorb and the newsprint has lost a lot of its moisture, slowly peel it away.
Additional Decorations
relaxed with this and just gently pat down the strip.
If you want a contrasting decoration in an adjoining area, apply another coat of slip to the leather-hard clay. This time, try cutting out stripes or
shapes of plain newsprint, spritz with water until slightly damp, and lay them over the slip coat
to act as a stencil resist (figure 5). Brush over the
piece with another slip, again any color works, and
let sit until the slip firms up (figure 6).
On top of the slip and strip layer, I also like creating built up textures of slip. Brush a moderate coat
of slip onto a wide strip of newsprint and vary the
thickness of application. Once leather hard, place
the wide strip over the slip-coated object with the
newsprint stripes still in place (figure 7). Be more
Stamp It Out
Since the object is still leather hard after the newsprint and resist techniques, more adornment may
be applied. You can create additional marks using
stamps, etched lines, and texture rollers (figure 9).
Larger areas of slip can also be carved away and
create more surface depth (figure 10).
soda ash to 1 cup of heated water and stir to dissolve the ingredients. Allow the piece to dry again.
The soda ash wash will cause the matte surfaces to
retain a moist and saturated look. I fire the stains,
glazes, and soda ash wash together to cone 0504,
(see page 39) to cone 08. Finally, I do a third firing
of gold luster and commercial decals together to
cone 017. Ive fired the soda ash wash up to cone 2
but not past that.
I use a variety of shop-made and commercial
glazes. For many, glazing is the last and final step,
but I find glaze firing is only an intermediate step
when pushing surfaces even further. When glazing,
try setting up areas for decals and lusters by selectively applying the glaze (figure 12). Remember,
decals and lusters reflect the surface below them
and work best when applied to a shiny surface.
Making Stencils
Before I make a platter, I come up with a design
and stencil for the imagery. Stencils can be as simple or as complex as you like, but I find the detail
thats achievable an exciting aspect of the process.
You can work from any drawing or photograph,
but high contrast images are the most straightforward to cut. Once you select an image, make
a photocopy (dont ruin your original!), and use
a permanent marker to clearly delineate the areas
you will include. All of the sections you intend to
retain in the final stencil must be connected to the
whole or they will drop out of the image.
76
Building a Platter
Platters are an ideal vehicle for surface decoration. To form a platter, drape a -inch thick slab
over a bisque mold (figure 4) and attach the foot
immediately after draping. Once dried to firm
leather hard, flip the platter and attach a coil rim
(figure 5). I roll out or extrude a coil, then lay
it in a spiral on a banding wheel. With the platter on another banding wheel, I attach the coil,
then slowly spin the platters banding wheel as I
work so the coil always feeds to the rim at the
same spot. Let the rim and platter set up together under plastic overnight. The following day,
mask out the rim and foot with latex to protect
from slip while decorating (figure 6). I use Lagunas Goodrich Latex because it is water based
(no stinky ammonia, and it can be thinned with
78
10. Mask out any areas of corn that fall within the dust
stencil using latex.
11. With the dust stencil set, brush underglaze into the
unprotected space.
When the surface is back to leather hard, carefully remove the latex masking the corn (figure
13) along with all layers of stencils (figure 14).
Note that if you remove stencils too early, the slip
may run underneath. In contrast, if you wait too
long, the edges may be ragged. Try to find a window where slip is firmly set, but not yet dry. If
slip has dried too far, mist with water to soften
before removing stencils. If you find spots where
slip has bled under your cutouts, use a sgraffito
tool to scrape the clay body clean. Alternatively,
use a small brush with water to erase any areas
of unwanted slip. Once all stencils are removed,
add final sgraffito details or any other cutouts to
the surface (figure 15).
I single fire my work to cone 04, so prior to
removing latex from the rim, I coat the sur-
79
Screening
Image on a hi-res
screen by Chicago artist
Tom Lucas, used to
print on clay.
114
final step is going back out into the sun for another
Screening
the screen in a group, leaving half-inch spaces between individual images for easier printing. You
can also fill the screen with just a single image,
pattern, text or any combination of these. The
image was printed on standard printer paper.
there are some small detail areas that did not rinse
out well. This happens more with complex images
in the HiDef screens because of the tighter mesh.
When thoroughly rinsed, hold screen up to the
light to check it. You should only see the white
threads of the screen itself in the open areas. If
you still see a thin film of residue, rinse again. After completely rinsing, place the screen emulsion
side up on a paper towel and dab off all the excess
water (figure 4). Put a fresh dry paper towel under the screen with emulsion side up and take it
outside to re-expose in the sun for 1020 minutes.
This hardens the stencil and making it durable and
long-lasting.
Printed in China
Wandless
Ceramic
Arts
Handbook
Series