Porcelain painting processes

The processes presented here are at present used by 3Ma.

(It is by no means an exhaustive manual  of the decoration techniques  of the china on small fire).

1) Traditional Technique

2) Classical American Technique

3) Modern American Technique

4) Scandinavian Technique

1) Traditional technique :

This technique is used since the origins of the European china. The approach is very classic, the decoration is light, perfectly homogeneous.

Colours are conscientiously mixed with “universal medium” or with “fat essence”. The set has the consistency of oily and thick liquid.

The paint with medium is easy to apply, it dries very quickly and allows hardly repentirs. The paint with “fat essence”, is more difficult to use but allows to repaint the work after drying without as intermediate cooking.

According to the watercolours of Katarina KLEIN


Wild Rose


2) Classic American Technique :

This technique allows to realize pictures on flat tiles of porcelain just painting on canvas.

A started decoration set can be reworked after several months. The only enemy is dust from which it is necessary to protect the work. Indeed, colours are worked with oils that don't dry until cooking.

The mixture of preparation, colour and American oil mixed carefully must be rather solid, a little more liquid than toothpaste . Oil paint brushes are used to put colours on the support This work is very similar to the classic technique on painting cloth.

The particular rules for painting on china remain valid however. So, it is necessary to be attentive to the following points:

- Certain colours change during the cooking, such as pink,

- The others must be used alone and pure, such cadmiums

- Authorized mixtures of colours do not always give the expected results after cooking ; certain colours of the mixture take the step,

- The paint applied in a too thick coat cracks during the cooking.

Snow on river

3) Modern American Technique

Mixture is realized as before in the classic American technique. But there, the painter works with flat brushes or flattered in their end. He uses a slightly oiled brush which he dips into several colours according to the expected effect and works the forms by realizing big aplats. The obtained drawing is subtle, sometimes voluntarily vague and shaded off. Forms appear through the game of colours. The very alive approach, with these vibrating colours, is gladly impressionistic. This technique allows in particular to realize flowers, fruits, suggested landscapes, simplification which can achieve the abstraction or be instilled by touches in a classic work.





4) Scandinavian Technique

The processes are varied and very remote from the classic discipline. The china is worked by contribution of varied materials(subjects): silica, glass, glass pearls, fiberglass, … or by partial withdrawal of the covering. The obtained decorations give unusual effects on the china. This work is often raised by precious metals. The Scandinavian technique is employed on accompaniment of other processes of decoration.


Butterflies on golden landscape