| For aesthetic reasons articles can be
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| | primary decorating material on their
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| decorated by a large variety of
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| | ware. Sgraffito involves scratching
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| techniques , including the application of
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| | through a layer of coloured slip to
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| colours and designs. Decoration can be:
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| | reveal a different colour or the base
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| In the body
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| | clay underneath. If done carefully, one
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| On the surface of the body but beneath
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| | colour of slip can be fired before a
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| the glaze, underglaze decoration
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| | second is applied prior to the scratching
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| In the glaze
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| | or incising decoration. Often slips
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| On the surface of the glaze, on-glaze
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| | engobes used in this process have a
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| decoration
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| | higher silica content, sometimes
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| Additives can be worked into moist clay
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| | approaching a glaze recipe. This is
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| body, prior to forming, to produce
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| | particularly useful if the base clay is
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| desired characteristics to the finished
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| | not of the desired colour or texture.
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| ware. Various coarse additives, such as
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| | Banding, is the application, by hand or
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| sand and grog (fired clay which has been
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| | by machine, of a band of colour to the
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| finely ground) to give the final product
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| | edge of a plate or cup. Also known as
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| texture, and contrasting colored clays
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| | lining
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| and grogs result in patterns. Colorants,
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| | Litho, is a commonly used abbreviation
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| usually metal oxides and carbonates, are
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| | for lithography although alternatives
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| added singly or in combinations to
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| | names of transfer or decal or used. These
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| achieve a desired colour. Combustible
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| | are used to apply designs to artciles.
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| particles can be mixed with the body or
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| | The litho comprises three layers: the
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| pressed into the surface to produce
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| | colour, or image, layer which comprises
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| texture.
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| | the decorative design; the covercoat, a
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| Agateware A long established technqiue is
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| | clear protective layer, which may
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| to partially mix different coloured clay
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| | incorporate a low-melting glass; the
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| bodies to give a distinctive 'mottled'
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| | backing paper on which the design is
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| decoration. In Great Britain, these
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| | printed by screen printing or
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| techniques are known as agateware, after
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| | lithography. There are various methods of
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| agate stone which shows similar colour
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| | transferring the design while removing
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| banding, whilst in Japan a similar
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| | the backing-paper, some of which are
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| technqiue is called "neriage. An analogue
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| | suited to machine application
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| of marquetry can also be made, by
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| | Gold, decoration with gold is used on
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| pressing small blocks of coloured clays
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| | some high quality ware. Different methods
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| together, and using the resulting mosaic
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| | exist for its applications, including:
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| to create distinctive patterns. To ensure
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| | Best gold - a suspension of gold powder
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| the final articles are unfaulted care is
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| | in essential oils mixed with a flux and a
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| needed with selection to choice different
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| | mercury salt extended. This can be
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| bodies of compatible shrinkage and
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| | applied by a painting technique. From the
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| thermal expansion
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| | kiln the decoration is dull and requires
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| Burnishing, like the metalwork technique
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| | burnishing is reveal the full colour
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| of the same name, involves rubbing the
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| | Acid Gold – a form of gold decoration
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| surface of the unfired article with a
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| | developed in the early 1860s at Mintons
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| suitable tool, typically of wood, steel
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| | Ltd., Stoke-on-Trent, UK. The glazed
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| or stone, to give a smooth, polished
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| | surface is etched with dilute
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| surface which remains even after firing.
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| | hydrofluoric acid prior to application of
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| Finer clays give a smoother, shinier
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| | the gold. The process demands great skill
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| surface than coarser clays, as will
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| | and is used for the decoration only of
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| allowing the pot to dry more before
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| | ware of the highest class.
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| burnishing although that risks breakage
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| | Bright Gold – consists of a solution of
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| An ancient Armenian urn.Engobe, to give a
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| | gold sulphoresinate together with other
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| finer surface, or a coloured surface,
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| | metal resinates and a flux. The name
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| slip can be coated onto the leather-dry
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| | derives from the appearance of the
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| body. Slip produced to a specific recipe
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| | decoration immediately after removal from
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| is sometimes called an engobe. Slips or
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| | the kiln as it requires no burnishing
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| engobes can be applied by painting
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| | Mussel Gold – an old method of gold
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| techniques, or the piece can be dipped
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| | decoration. It was made by rubbing
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| for a uniform coating. Many pre-historic
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| | together gold leaf, sugar and salt,
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| and historic cultures used slip as the
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| | followed by washing to remove solubles.
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